Essential Journal - Issue 44

column

style

survey

drinking

business

Matthew Gonzalez talks us through the perfect jacket

A look at Oliver Spencer’s sustainable efforts

We discuss the evolution of Instagram

The Whisky Exchange puts a spotlight on Gin

Behind the veil of the Insta influencer

page 19

page 23

page 33

page 37

page 54

In pursuit of a quality lifestyle

Issue 44

We discuss both sides of the ever-spinning Instagram coin View all 10 comments

#rightsideofthecoin

www.essentialjournal.co.uk

NEW NEWJAGUAR JAGUARXE XE

THE THENEW NEWWA WA Y YTO TO GO GOYOUR YOUROWN OWNWA WA Y Y ..

Introducing Introducing the the new new Jaguar Jaguar XE. XE. Our Our most most refi refi ned ned and and advanced advanced sports sports saloon saloon now now looks looks even even more more distinctive distinctive and and dynamic, dynamic, with with itsits new new body body styling, styling,additional additionalwheel wheeloptions optionsand anda arefreshed refreshedpaint paint palette. palette.

We’ve We’ve signifi signifi cantly cantly enhanced enhanced the the interior interior with with some some ofof the the latest latest on-board on-board technology. technology.

It’s It’s the the first first Jaguar Jaguar toto integrate integrate wireless wireless phone phone charging, charging, and and with with Touch Touch Pro Pro Duo* Duo* – our – our most most advanced advanced car car infotainment infotainment system system ever ever – you – you can can stay stay eff eff ortlessly ortlessly connected connected toto your your world.** world.** And And thanks thanks toto our our Ingenium Ingenium engines, engines, developed developed and and built built inin the the UK, UK, XE XE isis asas effi effi cient cient asas it it isis seductive. seductive.

Hatfi Hatfi elds elds Jaguar Jaguar Liverpool Liverpool Columbus Columbus Quay, Quay, Riverside Riverside Drive, Drive, Liverpool, Liverpool, Merseyside Merseyside L3L3 4ED 4ED 0151 0151 728 728 2000 2000 hatfi hatfi elds.co.uk elds.co.uk

2 Emissions OffiOffi cialcial WLTP WLTP FuelFuel Consumption Consumption for the for the XE range XE range in mpg in mpg (I/100km): (I/100km): Combined Combined 50.750.7 – 30.5 – 30.5 (5.6(5.6 – 9.3).

– 9.3).

NEDCeq NEDCeq CO2CO Emissions 168 168 – 130 – 130 g/km. g/km.

TheThe figures figure p 2 and CO2CO and fuelfuel economy economy figures figures maymay varyvary according according to factors to factors such such as driving as driving styles, styles, environmental environmental conditions, conditions, loadload andand accessories. accessories. *Touch*Touch Pro Duo ProisDuo a standard is a standard feature feature on 20MY on 20MY XE HSE XEand HSE XE and HSE XEDynamic.

HSE Dynamic. **All in-car **All in-car features features shouldshould be used beby used drivers by drivers only when only safe whenfor safe them for to them do so. to do Drivers so. Drivers must ensure must ensure they are they in are full control in full control of their ofvehicle their vehicle at all times. at all times.

provided es provided are are as aas result a result of offi of cial official manufacturer’s manufacturer’s tests tests in accordance in accordance withwith EU legislation.

EU legislation.

ForFor comparison comparison purposes purposes only. only.

RealReal world world figures figures maymay differ. differ.

NEW RANGE ROVER EVOQUE

CAPABLE. NEW RANGE ROVER EVOQUE YET INCAPABLE CAPABLE. OF BLENDING IN. YET INCAPABLE OF BLENDING IN.

New Range Rover Evoque is as at home on city streets as it is on mountainous roads. It has all the capability credentials of a true Land Rover but with all the city smarts too, such as ClearSight Groundview* technology. This displays what’s underneath the bonnet so you can keep an eye on those awkward high kerbs New Range Rover Evoque is as at home on city streets as it is on when parking. The Evoque really can do anything. Apart from mountainous roads. It has all the capability credentials of a true avoid admiring glances.

Land Rover but with all the city smarts too, such as ClearSight Groundview* Thisdrive displays what’s underneath the Call or visit to technology. book your test today. bonnet so you can keep an eye on those awkward high kerbs when parking.

Evoque really can do anything. Apart from Hatfields LandThe Rover Liverpool avoid admiring glances.

Riverside Drive, Liverpool, Merseyside L3 4EN 0151 559 3000 Call or visit to book your test drive today. hatfields.co.uk Hatfields Land Rover Liverpool Riverside Drive, Liverpool, Merseyside L3 4EN Official WLTP Fuel Consumption for the Range Rover Evoque range in mpg (l/100km): Combined 28.5-44.9 (9.9-6.3). NEDCeq CO2 Emissions 188-143 g/km.

0151 559 3000

The figures provided are as a result of official manufacturer’s tests in accordance with EU legislation. For comparison purposes only. Real world figures may differ.

hatfields.co.uk CO2 and fuel economy figures may vary according to factors such as driving styles, environmental conditions, load and accessories.

Nolita Grey on First Edition only for 12 months from launch. *ClearSight Groundview not available on First Edition. Requires 360 camera. All in-car features should be used by drivers only when safe to do so. Drivers must ensure they are in full control of the vehicle at all times.

Official WLTP Fuel Consumption for the Range Rover Evoque range in mpg (l/100km): Combined 28.5-44.9 (9.9-6.3). NEDCeq CO2 Emissions 188-143 g/km.

The figures provided are as a result of official manufacturer’s tests in accordance with EU legislation. For comparison purposes only. Real world figures may differ.

CO2 and fuel economy figures may vary according to factors such as driving styles, environmental conditions, load and accessories.

Nolita Grey on First Edition only for 12 months from launch. *ClearSight Groundview not available on First Edition. Requires 360 camera. All in-car features should be used by drivers only when safe to do so. Drivers must ensure they are in full control of the vehicle at all times.

Middle Eight Columns

Contents

19 | TAILORED THOUGHTS ON HOW TO BUY A SUIT PART I

Huntsman Cutter and resident Essential Journal columnist, Matthew Gonzalez, offers up some advice on buying the perfect suit jacket

19 | A CUT ABOVE

Ian Harrold ponders his ongoing love/hate relationship with Instagram

37 | AT THE PASS WITH TOMMY BANKS

8 | THE PRIMER A rundown of the places we’ve been, the shows we've seen and the drinks we've enjoyed this month 10 | AN EXTRACT & BOOKS FOR THE MONTH AHEAD Victoria Turk provides an indispensable guide to minding our manners in a brave new online world 12 | TIMELESS CHARM We take a look at the standout timepieces from this year’s Baselworld 2019 14 | MEET THE MAKERS - CRAIG & REBECCA STRUTHERS We sit down with expert watchmakers, QEST Scholars, and John Smedley's 235 Ambassadors, Craig & Rebecca Struthers, to discuss the fine art of horology 17 | LOOMS WITH A VIEW As one of fashion’s most iconic families, Missoni effortlessly fuses fashion-forward design with an Italian penchant for style, quality and luxury

This month Tommy discusses the business end of social media

20 | DEEP DIVE - ANATOMY OF AN EXPORT GRADE SHOE From the leather, to the lasts, to the little labours of love, we take a closer look at Loake’s latest 1880 Export Grade collection 22 | MEET THE LOCALS - FRONTIERS, EDINBURGH Getting a lay of the local land from the friends of Oliver Spencer 23 | THE 'S' WORD WITH OLIVER SPENCER This month, we take a closer look at Oliver Spencer’s sustainable efforts and its quality-first, provenance-forward approach to fabric 33 | REACHING A CONSENSUS ON INSTAGRAM We reach out to those in the know to get their thoughts on the evolution of Instagram 39 | SIMPLICITY DONE PERFECTLY In the eyes of Jan Ostle, it’s okay to march to the beat of your own drum as long as it means you’re moving forward 41 | THE RECIPE - CANJA DE GALINHA Compliments of Casa do Frango

ESSENTIAL JOURNAL X BEN SHERMAN

ONE MILLION YARDS

Ben Sherman: Over Five Decades of Subculture and the Button-Down

43 | THE SOUTHERN ROADSHOW This month, La Marzocco kicked off their Southern Roadshow with a trip to the sunny shores of Brighton

FEATURING THE SERIES We chat to a curated collective of inspirational individuals

51 | ARCHITECTURAL THOUGHTS ON INSTAGRAM This month, our resident architectural columnist, Róisín Hanlon, asks 'Is an awareness of social media affecting the way we shape our urban fabric?'

ARTICLE OF NOTE We take a look at the history and heritage of the Harrington jacket MAKING MUSIC HISTORY Ben Sherman & PRS put the UK's top emerging artists centre stage

54 | COFFEE & COUNSEL WITH ADONIS MICHAEL

Michael Rose & Baylis director, Adonis Michael peeks behind the veil of the social media influencer

PUBLISHERS Singleton Publishing

CONTRIBUTORS Adonis Michael Bushy Craig Struthers Dan Harvey Francesca Hague Ian Harrold James Chuter James Golding James Grundy Jamie Ferguson Jan Ostle Joe Hall Mark Thompson

Matt Lovell Matthew Gonzalez Mike Snelle Nicholas Sinclair Nigel Pashley Rebecca Struthers Rob Hampton Róisín Hanlon Saeed Al-Rubeyi Tom Morris Tom Ravenscroft Tommy Banks Victoria Turk

45 | HIGH SPIRITS SPOTLIGHT - GIN This month, we curate a collection of curious gins from around the world with The Whisky Exchange 46 | DRINKING WITH SMALL BEER Tailor-made for today’s pace of living, Small Beer offers a ground-up, bespoke approach to brewing low ABV beers that makes drinking a guiltless pleasure 49 | BEAUTIFUL DESTRUCTION How one man, Ricardo Bofill, breathed life back into a 'brutal carcass' on the edge of Barcelona 53 | THE ART OF FAILURE The Connor Brothers let us in on their experience with failure and disappointment, where it took them, and what they learned from it

PARTNERSHIP MANAGER Lara Poynor l.poynor@singletonpublishing.co.uk

EDITOR Will Halbert w.halbert@singletonpublishing.co.uk

For all advertising enquiries please contact: sales@essentialjournal.co.uk

CREATIVE DIRECTOR Thomas Sumner t.sumner@singletonpublishing.co.uk

For all other enquiries including guest editorial and feature opportunities please contact: info@essentialjournal.co.uk

LEAD DESIGNER Jennifer Swaby

TERMS & CONDITIONS Under no circumstances must any part of this publication be reproduced without prior permission to the publisher. Whilst every effort is taken, the publisher shall not be held responsible for any errors.

FRONT COVER @milanstylelive ( Jonathan Edwards) photographed by @jkf_man ( Jamie Ferguson)

Furthermore, the publisher shall not be held responsible for any advertising material/content. Please also note that the views and opinions written within this publication do not necessarily represent the views and opinions of the publisher. All prices and details stated within this publication are correct at the time of print, however these are subject to change and the publisher shall not be held responsible for these. Third party contributions own exclusive copyright to their own material that they have submitted as part of the

web www.essentialjournal.co.uk Issue 44 | The Essential Journal

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17/04/2019 12:27

THE PRIMER

FIVE-IN-FIVE

‘‘We are what we

Short but sweet Essential

pretend to be, so we

Journal Favourites

must be careful about

MUSIC

what we pretend to be.’’

Kurt VONNEGUT Kevin Morby Nothing Sacred/All Things Wild

A note from

The more cyni-

the editor

cal amongst us

What We’re Drinking

What’s on our Coffee Table

might venture

Diplomático Distiller's Reserve No. 3. Pot Still

The Fire Next Time (Taschen)

Diplomático Rum’s Distillery Collection offers up a trio of lean, expressive and exacting liquids that celebrate the singular foundations of the Venezuelan maestros’ ever-popular blended rums. Each one represents a meeting point between provenance and playfully top-tier production. Dimplomático’s most recent release, the No.3 Pot Still Rum, is an oak-forward and fruity little number with fire to spare. Ideal for those more versed in Scotch who might be looking to beef up their collection with something other than barley.

As remarkable for its masterful prose as for its frank and personal account of the black experience in the United States, James Baldwin’s The Fire Next Time is lauded as one of the most passionate, poignant and influential explorations of race relations in the 1960s. Tachen’s latest edition combines Baldwin’s rich, raw, and ever-relevant prose with more than 100 photographs from renowned photographer, Steve Schapiro. The result is a remarkable visual and textual record of one of the most important and enduring struggles of the American experience.

Available from thewhiskyexchange.com

The Fire Next Time (Taschen) is available now

to suggest that, if Instagram has taught us anything, it’s that narratives of the self have a habit of derailing into the long grass of fantasy. False lives, well-lived.

Little fictions, well-told. They’d say that Insta’s endless grid is filled with the empty lies we tell

PODCAST

20, 000 hertz A podcast all about sound

INSTAGRAM

ourselves then run along to sell to others. Catastrophe cropped, reality sacrificed to filtered

@nathanwpylestrangeplanet Charming aliens deconstruct life’s idiosyncrasies

fraud. Dreams for sale, just follow the hashtag. Link in bio.

And they’d be right, too. To some

TV

extent at least. But then again, Vonnegut wrote the above quote for Mother Night - itself a cynical warning on the power and perils of propaganda - back in ‘62. So if you really think about it, the

What We’re Watching

Who We’ve Been Talking to

curated self is nothing new, it’s

Triple Frontier (Netflix)

Gary Janes, Barbour

Despite the whizz-bang, bro-down potential of its cast, Triple Frontier is shot throughout with a persistent poignancy that lends the whole affair a more cerebral grounding than you might first expect. Not only does this Netflix original offer up some occasionally tense and muscular thrills without skimping on the pathos, it raises some pretty prescient questions about a man’s worth in relation to his capacity for violence. How well it answers those question is up for debate, but it's a central theme that nevertheless elevates the film above its popcorn fodder veneer.

Taking us on a tour through Barbour’s design archives, Menswear Design Manager, Gary Janes showed us that in order to create future classics, one must be able to delve into a past filtered through the lens of the present. In his own words: ‘all good design derives its validation and authority from its predecessors, but it is the reimagining of the original features which make it modern and relevant.’ As wise as he is loquacious, Gary is the perfect spokesperson for Barbour’s insistence on history, heritage and innovation through iteration.

just the platform that’s evolved.

Making Instagram more of an effect than a cause, when you really get down to it. Which is precisely what this month’s issue aims to explore, as it happens. #Enjoy.

Will HALBERT

The Image

Editor

La Fábrica Ricardo Bofill (opposite)

8

Ricky Gervais’ Afterlife David Gandy thinks it’s cool

FILM

Jordan Peele’s Us Fun but focusless sophomore slump

Born in Barcelona in 1939, Ricardo Bofill’s architectural style is hinged upon non-conformism. Expelled from the Barcelona School of Architecture for his part in a political demonstration, this resistance to adhere filters through into his craft. His work on La Fábrica, his career-defining redevelopment of an abandoned cement factory in Sant Just Desvern in Spain, showcases his fascination with the half-finished and his belief in the possibility of repurposing. An amalgamation of almost-Brutalist functionality and traditional Gothic technique, La Fábrica gives a nod to European Postmodernism and the potential for the regeneration of ruin. In Bofill’s own words: ‘I like the idea of a ruin philosophically. Life is a ruin.’

Turn to page 51 for more on Bofill's La Fábrica The Essential Journal | Issue 44

Image credit: Kristina Avdeeva / courtesy of Ricardo Bofill Taller de Arquitectura, Ricardo Bofill, gestalten 2019

THE IMAGE

Ricardo Bofill's La Fรกbrica, Sant Just Desvern, Spain - from the book 'Ricardo Bofill - Visions of Architecture' published by Gestalten

Issue 44 | The Essential Journal

9

BOOKS

Books for the month ahead

An Extract

Digital Etiquette Victoria Turk provides an indispensable guide to minding

Unspeakable

by Harriet Shawcross

our manners in a brave new online world words by Victoria TURK

H

ow do you reply to your colleague's weird email?

What might Debrett’s say about your Tinder profile? And just how do you know if you're mansplaining? With equal doses of wit and wisdom, Victoria Turk’s Digital Etiquette offers up a much-needed and overdue breakdown of the dos and don’ts of the digital age. This particular extract from the upcoming book offers a history lesson on the endlessly-multiplying and perplexing pervasive power of one of social media’s most celebrated by-products: the meme.

Imagine being a poet and not being able to write a single line for 25 years, or a soldier who struggles to recount the terrible things that he has seen. We all experience times when words appear to fail us, whether it be as extreme as the cases above or as everyday as telling a client to how much a project will cost them. In Unspeakable, Harriet Shawcross travels the globe to investigate and uncover the power of silence.

'The word ‘meme’ was coined by evolutionary biologist Richard Dawkins in

Unspeakable (Canongate) is available now

his book The Selfish Gene. Dawkins

Memes Think of a meme and the first thing to spring to mind is probably an image overlaid with some kind of amusing text, most likely in white, bold Impact font. Maybe it’s a cat asking, ‘I can has cheezburger?’ or a frustrated Boromir from Lord of the Rings wisely imparting that ‘One does not simply walk into Mordor.’

These kind of memes, known as image macros, are just the tip of the iceberg.

The word ‘meme’ was coined by evolutionary biologist Richard Dawkins in his book The Selfish Gene. Dawkins explains in his book that he settled on the word as ‘a noun that conveys the idea of a unit of cultural transmission, or a unit of imitation’ (his emphasis). He was not talking specifically about digital culture; The Selfish Gene was originally published in 1976, a full 13 years before the creation of the World Wide Web, so we can safely assume that he had never come across a lolcat by that point. Rather, Dawkins wrote, memes are anything that propagates by ‘leaping from brain to brain’, such as ‘tunes, ideas, catch-phrases, clothes fashions, ways of making pots or of building arches’. It was only after the internet became commercial that people began to apply the idea of memes to digital content.

These days, memes are often associated with images, though they can be anything – videos, songs, texts, catchphrases or more nebulous behaviours. Limor Shifman, an associate professor at the Hebrew University of Jerusalem who has studied internet memes and published a book on her findings, Memes in Digital Culture, says that there’s a difference between a meme and something that just ‘goes viral’. A piece of content goes viral when it is seen and shared by many people. A meme, however, not only gets shared but is also adapted along the way – remade and remixed again and again to produce endless variations. This is where Dawkins’s ‘unit of imitation’ definition comes in.

To take an example: ‘Gangnam Style’, the 2012 runaway hit by South Korean artist PSY, is a viral music video; it now has over 3.2 billion views on YouTube. But what makes it a meme is the fact that people have made their own versions, imitating the dancing or creating parody videos.

Schifman says that the reason we love memes so much is because they allow us to express ourselves both as an individual and as part of a collective. ‘When I create my version of a popular video, I simultaneously convey my individuality – this is my body, my sense of humour, my talent – and some communality to a shared core,’ she explains. Memes can also help form a kind of in-group language, with specific online communities adopting memes that outsiders don’t understand, to help establish a group identity.

Some memes enjoy abrupt but short-lived popularity, while others stick around for years. The ones that last longest are often very versatile and appeal to some kind of core human sentiment. Schifman gives the example of Success Kid, an image macro that features a baby boy clenching a handful of sand in a way that makes it look like he’s doing a celebratory fist pump. This image first became a meme around 2007, with people adding text that usually centres around celebrating a minor victory. More than ten years later, it’s still going strong. ‘Success Kid is still around because this notion of being successful in trying conditions is still appealing,’ Schifman says.

And while memes are often used as jokes, they can have more serious contexts. Memes are increasingly used in politics and activism, or to raise awareness of social issues. Schifman gives the example of the #MeToo movement. ‘#MeToo is a very good example of a meme that is both personal and political,’ she says. ‘When a woman posts a Facebook post or a tweet about her own sexual harassment, she simultaneously says something personal about herself, but at the same time she pinpoints a broad political problem that relates to inequality and injustice.’ VT

explains in his book that he settled on the word as ‘a noun that conveys the idea of a unit of cultural transmission, or a

Issues

by Vince Aletti

unit of imitation"

Digital Etiquette

by Victoria Turk and published by Ebury Press is out now (£9.99)

10

Acclaimed photography critic and curator, Vince Aletti, has rooted through his extensive magazine archive and selected 100 significant issues that explore the history of photography through the lens of fashion magazines. The collection spans almost 100 years and features rarely-seen images from the likes of Richard Avedon, Cecil Beaton, Edward Steichen and Toni Frissell. Issues is an essential reference point for those with even a passing interest in photography, fashion, and graphic design.

Issues (Phaidon) will be available from May 8

Amateur

by Thomas Page McBee An exploration of modern masculinity by the first transgender man to box at Madison Square Garden. Prescient, illuminating and honest, McBee’s ability to delve into the makings (and unmakings) of man without perpetuating an already troublesome narrative is impressive. Here, masculinity isn’t reduced to a proclivity for wanton violence.

Instead, McBee wades deep into the murky territories of masculinity to reveal a surprisingly fluid and fragile social construct.

Amateur (Canongate) is available now

The Essential Journal | Issue 44

Find out more at johnsmedley.com/discover/legacy

s r e k a m h c t a W s r e h ut

Str

y g o l o r o H X y e l d e m S n h Jo

View our collections at: 55 Jermyn Street, London, SW1Y 6LX | 24 New Cavendish Street, London, W1G 8TX | 24 Brook Street, London, W1K 5DG | johnsmedley.com

STYLE

ROLEX

Timeless Charm

‘Standing out amongst the Baselworld 2019 releases was the latest addition of a yellow Rolesor version to the Sea-Dweller range.

This timepiece brings a stylish new option for extreme depths.

We can’t wait to introduce our clients to the new collection in our brand new showroom when we reopen in June.’

Lee Chadwick, DMR Manchester

We take a look at the standout timepieces from this year’s Baselworld 2019

B

words by Will HALBERT

aselworld, the world’s largest watchmaking trade show, has been a longstanding beacon of heritage and horology. A meeting point for a global community of watch enthusiasts, it has always been the perfect place to catch a glimpse of the latest and greatest from the biggest brands in the industry. Boasting the newest offerings from watchmaking giants like Rolex and Patek Philippe, this year’s convention was no exception. Our friends at David M. Robinson have delved into Baselworld’s timely mix of tradition, luxury and innovation to offer us a round-up of their favourite timepieces from this year’s convention.

Oyster Perpetual SEA-DWELLER

TAG HEUER ‘Baselworld 2019 saw TAG Heuer introduce a collection focused on versatile, rugged and reliable timepieces. Designed to appeal to adventurers, the Autavia collection takes a cue from the brand’s original collection which were, in turn, inspired by both motorsports and aviation.’

Alex Martin-Wright, DMR Liverpool

AUTAVIA ISOGRAPH

Created in 1933 by Charles-Edouard Heuer, the 1st dashboard instrument for automobile and aeroplane was named AUTAVIA (contraction of the words AUTOmobile and AVIAtion). After a disappointing rallye because of its unclear dial, Jack HEUER decides to recreate Autavia as a wrist chronograph, with turning bezel. The result would be one of the most significant timepieces in the history of the company. 'It was bold, modern, stylish and highly legible.' Since then, Autavia has a long history in design and technology and is considered as the 1st of the Heuer 'Big Three'.

CASE SIZE: 42 mm CASE MATERIAL: Fine-brushed and polished steel BRACELET TYPE: Brown calfskin DIAL: Smokey blue with rhodium-plated luminescent indexes

12

The Oyster Perpetual Sea-Dweller, an ultra-resistant tool watch, has played a vital role in the conquering of the deep. This yellow Rolesor version combines Oyster Steel and 18ct yellow gold, a first for the Sea-Dweller range. The light reflections on the case sides and lugs highlight the profile of the Sea-Dweller’s 43mm Oyster case, which features a unidirectional rotatable bezel with a 60-minute graduated Cerachrom insert in black ceramic. This new version is equipped with calibre 3235 and carries the Superlative Chronometer certification.

CASE SIZE: 43 mm CASE MATERIAL: Oystersteel and 18ct yellow gold BRACELET TYPE: Oyster, three-piece solid links with polished centre links in 18ct yellow gold DIAL: Black, gloss, fine satin finish, hour markers in 18ct yellow gold Chromalight, hands in 18ct yellow gold Chromalight

Oyster Perpetual YACHT-MASTER 42

Sleek and distinguished, the Oyster Perpetual Yacht-Master 42 celebrates the ties between Rolex and the world of sailing. Yacht-Master sailing watches are recognizable thanks to their distinctive bidirectional rotatable bezel with a raised 60-minute graduation. This particular iteration offers a new 42mm model created from 18ct white gold. The light reflections on the case sides and lugs highlight the profile of the Oyster case. Thanks to its Chromalight display, the Yacht-Master 42 offers exceptional legibility in all circumstances. The broad hands and hour markers are filled with a luminescent material emitting a long-lasting glow. Yacht-Master 42 comes equipped with calibre 3235 and carries the Superlative Chronometer certification.

CASE SIZE: 42 mm CASE MATERIAL: Oyster with 18ct white gold middle BRACELET TYPE: Oysterflex DIAL: Black laquer, 18ct gold chromalight hour markers, 18ct gold, chromalight hands

The Essential Journal | Issue 44

STYLE

PATEK PHILIPPE

TUDOR

‘We are always taken by surprise with the new collections, and I have

‘Inspired by their ‘Born To Dare’ mentality, TUDOR certainly didn’t

to admit that the new Patek Philippe 5168G was a showstopper for me.

disappoint us during our annual visit to Baselworld. The Black Bay

It’s very important to be at the show in order to offer feedback to our

family grew with the arrival of the new Black Bay Bronze, with an

clients, having the opportunity to try the pieces out in the flesh.’

elegant slate grey dial. We have already seen this piece land in store at

Sandy Madhvani, DMR London

DMR Liverpool and it’s already proving a hit with our team.’

Alisha Duffy, DMR Liverpool

5168G AQUANAUT

The very embodiment of modern sporty-chic, the men’s white gold 'Jumbo' Aquanaut (42. 2 mm) reasserts its young, dynamic style in a new khaki green design. This audacious choice of colour evokes a sense of adventure and far horizons. The rounded, octagonal case and bezel combines polished and satin finishes. This piece is powered by a caliber 324 SC self-winding movement, which can be admired through a sapphire crystal case back.

CASE SIZE: 42.2 mm CASE MATERIAL: White gold, Screw-down crown, Sapphire-crystal case back BRACELET TYPE: Composite material, khaki green. Aquanaut fold-over clasp DIAL: Khaki green embossed, gold applied numerals with luminescent coating

5212A-001 CALATRAVA WEEKLY CALENDAR

The 5212A-001 Calatrava Weekly Calendar is a rarity for Patek Philippe. Rather than the precious metal case generally used for Calatravas, the 5212A is cased in stainless steel. In addition to showing the day of the week and the date, the 5212A also shows the number of the week in the year. The date is corrected from the crown and both the weekday and week number indications can be adjusted via two correctors set into the case flank. Owners will be able to correct any of the indications at any time, day or night, without running any risk of damaging the mechanism.

CASE SIZE: 40 mm CASE MATERIAL: Steel, sapphire-crystal case back BRACELET TYPE: Calfskin, hand-stitched, light brown, prong buckle DIAL: Silvery opaline, blackened-gold applied hour markers

Issue 44 | The Essential Journal

BLACK BAY BRONZE

The famous Black Bay Bronze model, winner of the ‘Petite Aiguille’ prize at the 2016 Grand Prix d’Horlogerie de Genève and a symbol of Tudor's naval heritage, is now available in a new slategrey model with shaded dial. Following the introduction of the first bronze model, a Black Bay with a chocolate brown dial, Tudor continues to explore this rare bronze material with its characteristic patina. A new colour scheme based on slate grey now embellishes the dial and bezel of this imposing divers' watch, whose aesthetics change over time and whose naval inspiration can be found in every detail. The impressive Black Bay Bronze also offers high technical performance thanks to its Manufacture Calibre MT5601.

CASE SIZE: 43 mm CASE MATERIAL: Bronze with satin finish BRACELET TYPE: Rounded black nubuck leather or slate-grey fabric strap with bronze buckle DIAL: Slate-grey, domed

BLACK BAY CHRONO S&G

The first Tudor chronograph, with a selfwinding Manufacture Calibre, column wheel and vertical clutch is now available in a steel and gold version. Since the presentation of Tudor’s first chronograph in 1970, the brand has always produced watches that are closely tied to the world of motorsports. Since 1954, TUDOR has been constantly improving its professional divers' watches.

The daringly hybrid Black Bay Chrono S&G chronograph combines this aquatic heritage, represented by the Black Bay family, with the queen of the racetrack, the chronograph, for a precious sporty-chic result with an undeniable touch of nostalgia.

CASE SIZE: 41 mm CASE MATERIAL: Steel with polished and satin finish BRACELET TYPE: Riveted steel and yellow gold bracelet, polished and satin finish/brown leather with removable bund, with folding clasp and safety catch/ black fabric strap with buckle DIAL: Black with champagne-coloured counters, domed

13

ESSENTIAL JOURNAL X JOHN SMEDLEY

Craig wears Orta Roll Neck £155 Rebecca wears Hoxton Sweater £170 both available at johnsmedley.com

Meet the Makers

Craig & Rebecca Struthers We sit down with expert watchmakers, QEST Scholars and John Smedley's 235 Ambassadors Craig & Rebecca Struthers, to discuss the fine art of horology words by Will HALBERT

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How would you describe your craft? craig struthers: We are watchmakers and restorers, so we work on pre-1960s wrist and pocket watches as well as making our own pieces.

What is your favourite part about what you do? rebecca struthers: It’s an incredibly varied skill that draws on everything from art and design to engineering and physics. We get to be historians, illustrators and artisans depending on the watch or project we’re working on.

How did you both begin your careers?

RS: I started training as a jeweller and silversmith in 2003 and discovered horology, the study of watch or clockmaking, during my training. I loved the creativity of jewellery but missed the structure and discipline of science. So by discovering watchmaking I found the perfect way to combine my favourite subjects.

CS: Watchmaking for me was a second career. I started out in IT after I struggled to find work as an illustrator which was what I wanted to do when I left college. I wasn’t enjoying work and found out about watchmaking through an aptitude test at the Job Centre of all places. There was a course near me at the time so I signed up and I’ve never looked back. All our bespoke designs start with hand rendered illustrations so in a roundabout way I finally get to be an illustrator of sorts now too.

How long have you been doing it?

RS: 16 years CS: 15 years What other Craftsmen stand out to you most and why?

RS: We work with some amazing craftspeople from a wide range of disciplines to do what we do, from engravers, goldsmiths, chainmakers and enamellers to cabinet makers and leather workers. Method Studio, who are another husband-and-wife team in Linlithgow, Scotland, make our presentation cases and do some incredible work.

CS: They’ve managed to build a small team of cabinet makers working to a very high standard and remaining true to the tradition of the craft,which is what we’d like to achieve in the near future. They also have an amazing workshop in the middle of the woods.

We have serious workshop envy!

Did anything in particular inspire you to start your craft?

RS: My love of science and art found a home in watchmaking. They’re taught as very different subjects in school which isn’t representative of the real world at all. There’s a great deal of overlap.

CS: I’ve always enjoyed restoring old things, whether that be classic scooters and bikes or old VW camper vans.

It was always part of me but I didn’t realise I could make a career out of it.

Do you work with any other craftsmen/women to create your products?

RS: Every watch we make calls on the skills of 10-30 other craftspeople depending on the complexity of the project.

CS: We’re watchmakers and we dedicate all our time to perfecting our discipline. We’ll never be as good an engraver, or silversmith, or stone setter, as someone who has equally dedicated themselves to their individual discipline. Some of the people we work with have been in the trade for 40-50 years, so each watch we make benefits from hundreds of years of cumulative experience. There’s no way we could achieve that level of detail just the two of us.

What is your criteria for working with fellow craftsmen/women?

RS: They have to be equally as passionate as us and the same attention to detail. Spending months making a part only to send it to someone who ruins it can be pretty soul destroying.

It’s not just the cost of the material, it’s the time you’ve taken to make something.

CS: It’s taken us years to build our network but we now have a collective of people we trust implicitly to take care of our work and execute their craft to the highest possible standard.

What is the hardest part about what you do?

CS: We pour our heart and soul into our work so, particularly being a husband-and-wife team, there are no evenings, weekends or holidays where there’s a break from our work. We often end up using holidays to design The Essential Journal | Issue 44

new watch cases and romantic meals out turn into business meetings. We both love what we do, but we’re both makers rather than business people, so it makes it very hard when we need to be objective.

What makes your craftsmanship most rewarding?

RS: There are no words to express the feeling of waking up one morning with an idea, then, having the skills to make that idea a reality. I think making things with your hands and transforming a seedling of a concept to real object is one of the most rewarding things for any human being.

Where did you learn the skills required for your role?

CS: We both took the same 3-year course with the British Horological Institute, but ultimately, there’s no training like on-the-job experience.

We spent years refining our skills with other masters before founding our first workshop. Particularly

with restoration, there have been thousands of different watches made over the Rebecca wears Stella Sweater £140 centuries, some of which available at johnsmedley.com you might only see once in your career. The only way of learning is by working on hundreds of different watches and combining that experience to apply to your own work. Traditionally, it takes a minimum 7-10 years to become a master watchmaker.

What has been the most important learning curve for you?

CS: You learn the most from your mistakes, one of our biggest challenges has been learning to cost projects properly. Craftspeople are some of the worst when it comes to attaching financial value to their work, it’s a very uncomfortable subject, so we regularly undercharge and end up working for free. It’s one thing me and Rebecca doing that, but as we grow and hire staff, we wouldn’t expect the same from the people who work for

us so it’s something we need to get much better at.

Has your craft evolved into other/ new skills over time?

RS: Some of the craft skills we work with are becoming so endangered we have had to bring them in house, the most notable of which is watch case making.

CS: Rebecca already had foundation skills in jewellery and silversmithing so, with the help of a QEST Scholarship, I was able to spend time training with one of the last traditional watch case makers in Britain. I’ve taken this experience back to our workshop where Rebecca and I have combined our skills to find our own methods which we’re now teaching to our first apprentice, Heather.

A Legacy of Quality Purveyor of the world’s finest knitwear, John Smedley commemorates its 235th anniversary with a year-long celebration of Great British craftsmanship

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words by Will HALBERT

y anyone’s standards, 235 years is quite the milestone. It’s the kind of milestone that can only really be achieved through an unwavering commitment to quality and an unconditional respect for the craft.

Over the course of more than two centuries John Smedley has proved that commitment and respect are at the forefront of all it does.

That’s why, as part of its year-long celebrations, John Smedley is putting a spotlight on fellow British craftspeople. Working closely with The Queen Elizabeth Scholarship Trust (QEST) itself a protector and purveyor of British craftsmanship - John Smedley will tell the stories of ten unique artisans, whose passion and integrity serve as an awe-inspiring beacon for British craft and creativity. EJ

Issue 44 | The Essential Journal

How would you describe a day in your role?

RS: The average day I think varies hugely for anyone who is self-employed. We try to spend as much time in our workshop making things as possible, but equally, we’re responsible for all our social media, administration, PR and restoring and maintaining all of the tools and equipment in our workshop.

How have you stayed passionate and inspired by your craft?

RS: I feel very fortunate to find a subject I have fallen madly in love with and a person I love equally at such an early stage in my life. I started this journey when I was 17, married Craig at 26 and founded our first workshop together the same month as our wedding. Being surrounded by that helps to keep me passionate about my craft even when things get difficult.

CS: I just love making things, I always have. Being able to earn a living from doing something you’re passionate about is a privilege. Even when we have stressful, difficult, times it’s always with the business and never with our craft.

Do you have any plans to expand on what it is that you do?

RS: We would like to grow our workshop into a small team of craftspeople working on the restoration to free Craig and I up to make more.

We’ll be helping John Smedley celebrate its 235th birthday with a year-long look at its dedication to superior craftsmanship in all of its wild and wonderful forms. johnsmedley.com

'There are no words to express the feeling of waking up one morning with an idea, then, having the skills to make that idea a reality'.

CS: Restoration is one of the best ways to learn watchmaking, with no spare parts supply, you have to learn to make pretty much any replacement component for other watches from scratch. Once you can do that for someone else’s watch, there’s no reason you can’t do it for your own.

If we can create a training chain within our workshop, starting with apprentices at the beginning working toward restorers, those restorers will then be able to go on to be the next generation of watchmakers. Whether they stay with us, or set up their own workshops, there are so few people with the skills we need in the UK training more will always be a benefit to us. Even if they set up on their own somewhere they will continue to be someone we can collaborate with.

What are the main projects you are working on now?

RS: We’re just over halfway through making our first completely in-house movement, Project 248, which started out as a nickname to reflect the fact it’s being built by 2 watchmakers, their 4 hands and an 8mm watchmaker’s lathe.

What are the accomplishments within your work in craftsmanship that you are most proud of?

CS: I’m proud of the workshop we’ve managed to build starting out with just a £15,000 bank loan. The average cost of a new lathe with accessories now is the best part of £25,000. We’ve had to restore a lot of the tools and machines we use but it’s left us with a very eclectic assortment of heritage machinery which influences the way we work and our style. What started out as a financial necessity has turned

into something I’m very proud of and wouldn’t change now.

RS: Our next achievement will be the completion of Project 248. That will be something I’m very proud of!

How would you describe your business in 3 words?

RS: Passionate about making How does working with QEST support you/your craft?

CS: QEST has supported us in two ways, the first through Craig’s Scholarship in traditional watch case making through Johnnie Walker, and the second through funding our first apprentice, Heather Fisher, through Howdens.

How would you describe John Smedley?

RS: We’re always inspired by heritage craft companies who manage to grow a successful business, employ people and pass on skills without losing the heart and soul of what they stand for. John Smedley has done just that, keeping these skills and jobs in the UK and succeeding as a business in an incredibly competitive market.

Do you have a favourite John Smedley piece, if so what?

RS: We always endeavour to wear garments that use natural, sustainably-sourced fibres, John Smedley’s Sea Island Cotton pieces are ideal. Anything with a bronze colour to it is a winner, as it pops beautifully against the dark green hues of the studio and is always reminiscent of the metallic materials we work with.

What are you most excited about for the future?

RS: Our next watch completion maybe? Finishing pieces that can take years to make and handing them over to their new owner is an incredibly exciting and emotional time, particularly Project 248 as so much of ourselves is going into it. I imagine it’s a bit like sending your child to university. You hand over the responsibility of care, hope they’ll be looked after and of course hope they behave well and make you proud!

Find out more at johnsmedley.com/discover/legacy 15

ESSENTIAL JOURNAL X TESSUTI

Looms with a View As one of fashion’s most iconic families, Missoni effortlessly fuses fashion-forward design with an Italian penchant for style, quality and luxury

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benchmark in superior knitwear production, the Missoni family has spent over 60 years at the cutting-edge of Italian fashion. Founded in 1953 by Ottavio and Rosita Missoni in Varese, Italy, the Missoni aesthetic is bold and brash by design: A visual playfulness masterfully balanced by the technical seriousness of the house’s approach to the loom-based craft.

Missoni’s repertoire of mosaics, zigzags, and flame-stitch patterns - all produced in vivid and striking color combinations - has not only become a calling card for the house’s enduring quality and peerless luxury, but also serves as a testament to its technical mastery. The brand’s now famous layered knit patterns are the end product of computerized jacquard looms, both a nod to tradition and a clear sign of Missoni's famous drive to innovate.

Operating at an all-important intersection between technology, art and craft, Missoni’s jacquard looms create collages of cool and unusual color combinations with weighty, slubby yarns. It’s this winning combination of visual words by Will HALBERT flare and luxury handfeel that affords Missoni’s garments an unmatched level of depth and eccentricity. The result is a vibrant, visual feast that is more than matched by the tactile and textural richness of Missoni’s signature yarns, each as pleasing to sight as to touch.

Despite their colour-intense inclinations, Missoni’s designs yield carefully-curated collections that never overstep the boundaries of good taste. The brand’s abstract patterns and geometric designs remain eye-catching without ever approaching garishness. They’re loud, but never garish. As a result, Missoni’s line of knitted hoodies, polos, shorts and tees boast a quintessentially Italian style and ease that nevertheless proves perfect for layering up or pairing down.

Since 2018, Tessuti has been fortunate to count itself amongst a lucky Now one of the boldest representatives of Italian fashion handful of exclusive Missoni stockists. Discover the Missoni range and design excellence, Missoni’s legacy is one of larger-than-life exclusively in-store at the following Tessuti locations: luxury elevated by an enviable mastery of the loom. Since early 2018, Tessuti has found itself amongst a handful of exclusive stockists, Tessuti Chester, 30 Bridge Street, CH1 1NQ each carefully selected to help spread the family's dedication to a more Tessuti Bluewater, U99 Upper Rose Gallery, DA9 9ST vivid way of dressing, and with it, a more vivid way of living. EJ Tessuti Trafford, 129 - 131 Regent Crescent, M17 8AR

Issue 44 | The Essential Journal

'The brand’s abstract patterns and geometric designs remain eye-catching without ever approaching garishness.'

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COLUMN

Tailored Thoughts on

How to Buy a Suit Part I This month, Huntsman Cutter and resident Essential Journal columnist, Matthew Gonzalez, offers up some advice on buying the perfect suit jacket words by Matthew GONZALEZ

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uying a suit can be a difficult undertaking. Even at Huntsman where you can have clothing made to your exact specifications, customers will often be indecisive over what cloth to select, or which style details to choose because it is too difficult to imagine what the suit will look like without being able to try it on first. Getting a suit off the peg is equally as hard, because they come in such a wide range of brands, price points, cuts and styles. If you don’t know what to look out for it can be hard to even know where to begin. With that in mind, this month, we are going to have a master class on what to look out for when buying your next suit.

Fit is everything. If you shell out a load of money and buy a designer suit that doesn’t fit, you are just going to look like a bit of a mug who got ripped off. However, if you buy a relatively inexpensive high street suit that fits like a glove, people will probably think it is high end. So the golden rule of buying a suit is this: Don’t worry about labels, just worry about fit.

Every suit maker cuts for a particular body shape. Some companies cut for ultra slim guys, others for a more athletic physique, while others will cut for a more relaxed and comfortable all round fit. Tailors refer to this as a “block” and finding the block that works for you is essential. The only way to do this is by going around and trying on as many suit brands as possible. Taking the time to do this will pay off in the long run.

When trying on a jacket, button it up and let it settle on to your shoulders. As always, never do up the bottom button. Once it's properly on you the most obvious bit to look for is how the jacket fits at the sides. With it buttoned up you don’t want to be swimming in it because it is too big, or unable to breathe because it is too tight. As long as you feel comfortable and you like the shape, it should be about right. If you feel like it is just on the verge of being too loose or too tight, speak to a tailor because they might be able to make a small adjustment to the side seams.

If you are happy with the sides then it's time to move on to the shoulders. A well fitting jacket begins and ends with the shoulders, so if they don’t sit correctly just move on. To start, the shoulder seam should sit in the middle of your shoulder. If it is angled too far forward or backward then it is probably cut for someone with a different body type.

Next, you will want to make sure that jacket sits smoothly across your shoulders when it's buttoned up. If you get rolling wave like pulls that seem to be pointing towards your neck, the jacket is way too tight for you and nothing can be done to fix it. The collar should also be sitting firmly around your neck when the coat is buttoned, if there are any gaps between the jacket and your shirt collar move on and try on something else.

As soon as you have found something that is sitting cleanly around the sides and shoulders, keep and eye on the sleeve length. Ideally you want to show just a quarter inch (half cm) of shirt sleeve when your arms are at your sides. The best way to do this is to ask the tailor to shorten the sleeves to just above the break of your wrist.

Once you have gotten to this point you are pretty much golden.

Remember: It’s common for every off-the-peg suit to need a little nip and tuck, so don’t be afraid to ask for advice from an in-store alteration tailor.

In the end, it is up to you to pick out a suit that matches your own personal sense of style. However, if you keep the points above in mind, the next time you are out shopping around for a sports coat or suit, you are going to be better equipped to find something that is not only aesthetically pleasing, but also will look like it has been tailored for you. So go out and try a few things on and see how they feel. MG

'So the golden rule of buying a suit is this: Don’t worry about labels, just worry about fit.'

' A well fitting jacket

begins and ends with the shoulders, so if they don’t sit correctly just move on.'

'In the end, it is up to you to pick out a suit that matches your own personal sense of style. '

Issue 44 | The Essential Journal

A Cut Above This month, Ian Harrold ponders his ongoing love/hate relationship with Instagram words by Ian HARROLD

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t seems like every week I’m taking a swipe at Instagram in some way or another. It’s not that I dislike it, necessarily. I just think that, in a general sense, it makes an awful lot of the individual at the expense of the collective. There’s this odd striving for some form of personal brand, which usually comes with a thinly-veiled and volatile mix of self-importance and self-indulgence.

In the world of barbering (and other crafty and creative outlets) it makes a fair bit of sense.

Instagram’s visual assets, used correctly, can be a great way to boost your profile by flaunting your portfolio. But it doesn’t seem to end there. Instagram seems to have created a space for everybody to treat themselves like a brand, which brings us right back to those issues of self-importance and self-indulgence.

But here’s the kicker: We’ve always been a little vain, a little self-centred. We’ve always judged our worth on the opinions of others and on the networks we build with them. We’ve not become a slave to social media since the introduction of Instagram, we’ve just found a viable means of becoming a slave to our own egos. The id unleashed on a digital age. Instagram might have made our self-importance a more visual affair, but it sure as hell didn’t create it. What Instagram has done, and in some unpredictable ways at that, is make the disparity between who we are and who we’d like to be more obvious, more apparent. Again, this isn’t a bad thing necessarily. There’s nothing wrong with a few healthy aspirations. The problems arise when you start dedicating more time to projecting a certain set of ideals than you do actually trying to achieve them.

That’s where Instagram gets a little sinister. It has an uncanny knack for promoting an increasingly insular mindset, pretty ironic for a social media platform. People are better connected than ever, but they’re growing more isolated in their day to day endeavours, even when they’re in the company of others. Take the coffee shop, for instance. A whole room full of people in one of the most communal spaces in any city, and everyone is sat, conversationless, taking pictures of their lattes. Maybe I’m just too old to get it. My phone has always been an instrument of personal convenience. It’s there to make my life easier. It’s not there to kill my conversations, nor is it there to capture that latte at the expense of the warmth of my coffee. The almost hostile invasiveness of social media stopped being convenient for many people a long time ago.

Don’t get me wrong: Instagram and its ilk most certainly have their virtues. There’s a side of me - a less cynical side, I’ll admit - that sees in Instagram a sort of visual diary. And even in the days when people actually put pen to paper, diaries become a way of sifting through the shit and grit to capture that nugget of gold, the highlight of your day or week. What I’m trying to say is that Instagram, for all the flack I give it, really isn’t so bad when it’s handled responsibly and with a certain set of personal boundaries.

People have always had an inclination toward the charms of a more curated self. That’s not an unfortunate byproduct of a social medium, it’s an age-old, inalienable byproduct of human nature.

At the end of the day, that said same, rose-tinted, fake-it-til-you-make-it ethos existed long before Instagram ever did. IH 19

ESSENTIAL JOURNAL X LOAKE

The Lacing The refined, premium flat-waxed laces offer a fitting testament to the signature style and sophistication of Loake’s 1880 Export Grade Range.

Gentleman’s Corner A cut out notch in the heel of the shoe, the Gentleman’s Corner was originally used to prevent your shoe from snagging on your trouser leg.

Nowadays, the Gentleman’s Corner acts as a tell-tale sign of a well-made, heritage-forward shoe.

Deep Dive

ANATOMY OF AN EXPORT GRADE SHOE From the leather, to the lasts, to the little labours of love, we take a closer look at Loake’s latest 1880 Export Grade collection

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words by Will HALBERT

ast month, we put a spotlight on the peerless elegance of Loake’s Parliament whole-cut Oxford shoe. This month, we turn our attention to the finer details and final flourishes that serve to elevate Loake’s entire 1880 Export Range. From the design bench to the finishing room, each pair of shoes in Loake’s 1880 Export Grade collection is carefully and expertly crafted by a select, group of the very best shoemakers. With an uncompromising attention-to-detail and an unmatched level of precision, Loake’s dedicated makers infuse individual flair, personality and magic into each and every process in order to bring each pair of Export Grade shoes to life.

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Finger Polishing & Hand Antiquing A painstaking labour of love, each shoe is hand-burnished and finger-polished to create beautifully rich and truly unique tones, added depth, and an unparalleled shine. Each bit of leather reacts differently, so no pair of shoes are the same.

The Soles The Loake 1880 Export Grade Range sole serves as a benchmark in superior shoe-making. Here, the Goodyear welted construction is also complimented by an intricately hand-decorated sole that imparts a uniquely painted, two-tone finish.

The Essential Journal | Issue 44

ESSENTIAL JOURNAL X LOAKE

The Leather Essentially a canvas for the work of art that is the Export Grade shoe, each and every Export Grade style features uppers made from top grade, full grain, Italian calfskin. Individually hand-selected and meticulously appraised in Loake’s Northamptonshire leather room, the leather is carefully chosen for its soft handfeel and tight grain structure.

The superlative grade of Loake’s leathers ensures an unparalleled shine and a luxuriously rich patina following the brand’s unique hand-burnishing and finger-polishing techniques.

Boxing The full stop (or exclamation point) on the whole affair. All finished pairs of Loake Export Grade Shoes are lovingly boxed by hand and include dust protector bags and a complimentary shoe horn. They’re small touches, to be sure, but they’re indicative of the pride and care with which each and every pair of 1880 Export Grade shoes is crafted.

The 1880 Export Grade Range Welcome to some of the world’s finest in ready-to-wear, Goodyear welted, hand-finished, English footwear

PARLIAMENT An elegant whole-cut Oxford shoe with a gentle, elongated chisel toe, crafted from a single piece of calf skin Available in Onyx Black, Antique Blue and Antique Brown calf leathers.

The Lasts The all-important last is, quite simply, the mould around which a Loake shoe is made. The Loake 1880 Export Range uses two brand new lasts to achieve its superior fit and chiselled charm: The River Last and the Tower Last.

First introduced in 2018, the River Last boasts comfort and durability in equal measure. A delight to the eye and a joy for the foot, the River Last delivers a well-proportioned fit with a gentle, elongated chisel toe and a sculpted fiddleback waist. In short, it offers a refined and elegant shape with the added bonus of increased arch support.

The Tower last - designed exclusively for Loake’s 1880 Export Grade collection - is meticulously sculpted to put decidedly modern spin on a classic silhouette. With a distinctive, almond-shaped toe, the Tower last offers the same well-balanced fit, but with a more contemporary contour in mind.

TORRINGTON A traditional wing-capped Oxford brogue shoe with a distinctive, almond-shaped toe Available in Onyx Black, Antique Blue and Antique Brown calf leathers

HANOVER A classic plain toe-cap Oxford shoe, designed with a more formal look in mind Available in Onyx Black, Roasted Coffee and Smoked Teak calf leathers

GROSVENOR A traditional wing-capped Derby brogue shoe with a distinctive, almond-shaped toe Available in Onyx Black and Deep Mahogany calf leathers

Edge Trimming In a testament to the unparalleled skill of their craftsmen, Loake’s edge trimming technique requires expert hand-to-eye coordination for a precision cut that’s specific to the shoe’s last. The ultimate signature of a true master shoemaker.

TRINITY A stylish and versatile semi-brogue shoe in an Oxford design Available in Onyx Black, Deep Mahogany and Burnt Pine calf leathers

WARMINSTER A sleek, wing-cap ‘Austerity’ design brogue with a distinctive, almond-shaped toe Available in Onyx Black and Black calf leathers

Issue 44 | The Essential Journal

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ESSENTIAL JOURNAL X OLIVER SPENCER

they have great resident pieces and are currently showing Andy Warhol and Eduardo Paolozzi until June.

Both galleries have decent cafés and gardens to relax in after your art fix. The Dovecot Studios and the Fruitmarket Gallery in the Old Town are also well worth a trip. A walk up Calton Hill is well worth it, too. It’s one of Edinburgh’s volcanic plugs, and has an unfinished library on the top known as ‘Edinburgh’s disgrace’, which it isn’t! It’s a great place to sit and watch the sunrise in summer after a serious night out!

Meet the Locals

Frontiers Edinburgh

Getting a lay of the local land from the friends of Oliver Spencer interview by Will HALBERT

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rontiers Man is an independent menswear store in the heart of Edinburgh’s West End. Owned by Nigel Pashley, the store was opened 3 years ago as an expansion to his partner’s sister store, Frontiers Women. Frontiers Man has quickly become the go-to store in Edinburgh for quality, independent menswear. An Oliver Spencer stockist since day one, Frontiers moved to a larger premises across the road and opposite the woman’s shop in July last year, where Nigel was joined, full time, by Joe Hall. This is a combination of Nigel’s and Joe’s favourite haunts. EJ

What is your city’s best kept secret (that you’re willing to share)?

Edinburgh has many secret places to visit, especially in terms of bars, music and architecture, but a favourite of ours is the Dean Village and a stroll down the Water of Leith to Stockbridge. The Dean Village is just to the North West of the Centre, and on a sunny day it is absolutely beautiful.

It’s hard to imagine that you’re just a 10 minute walk away from Princes Street. On the South side, the Meadows is a huge park right in the City Centre. It’s often overlooked by tourists, but it’s a great place to relax, have a BBQ or just play a game of football or frisbee with some strangers.

Where’s the best place to get your morning coffee?

Generally, we like to keep it local and independent whenever possible.

So we spread our coffee purchases between three delis and takeaways on William Street: Herbies, Roots and Maialino. All three are well worth a try. As Joe strolls into work from the

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Have you noticed a shift towards a more sustainable way of living in your city? Where?

There is a definite shift towards sustainability in Edinburgh. Not just in the recycling of domestic and trade waste, but in people’s attitudes towards clothing. More people are moving towards better quality items that will last for many seasons and away from the ‘wear it once and throw away’ attitude. Organic fabrics are becoming more common and popular, as you can clearly see in Oliver Spencer’s shirting. Edinburgh is also the home of Vegware – those lovely people behind compostable packaging – a huge international success story. Also, we have a great vintage clothing scene that provides us with preloved clothes the best of which are Skinny Pig and Armstrongs. south he has a number of options he likes to stop at like Brew Lab, Machina, and particularly Thomas J Walls in the Old Town. Thomas J Walls kept its name from an old opticians and serves great coffee and an amazing breakfast!

Is there a particular neighbourhood or area that’s transforming for the better?

Staying loyal to our own locality, we

Any good food spots that you’d recommend?

Edinburgh is split into several ‘villages’ and there are more gems in these than most cities. My favourites are L’Escargot Blanc on Queensferry Street - a superb French bistro/wine bar; Fishers in the City for seafood; and Mother India for currys. Joe recommends Gardener’s Cottage, Timber Yard, Ondine and Tanjore. We all love Café St. Honore, which is tucked away in a little lane in the Centre. Joe’s been going for 20 years and I hired it out for my 50th.

Where’s the best spot for a postwork drink?

The list is long! Post work drinks tend to be at the nearby Voyage of Buck in William Street, where they do great beers and cocktails, Whighams in Hope Street, just off Charlotte Square, and then back to L’Escargot Wine Bar. Further afield for craft beer I’d also recommend trying Salt Horse, Cask and Barrel, The Dagda, Brauhaus and Cloisters.

Any must-see monuments, buildings, installations or works of art we should check out while we’re here?

Edinburgh is crammed with monuments, superb buildings and museums. Apart from the obvious choices, we would recommend the National Gallery of Modern Art to the west of the Centre; based in two buildings, The Essential Journal | Issue 44

This year we have teamed up with the Lambs Conduit St. based designer to follow his efforts in becoming a more sustainable outfit oliverspencer.co.uk

ESSENTIAL JOURNAL X OLIVER SPENCER

believe that the West End is seeing a resurgence for the better. The area was devastated some 6-7 years ago when the infamous Edinburgh Tram works were ongoing, with many small businesses going to the wall or struggling to survive. But now that’s all in the past, we are seeing a growth in independent retail and hospitality, with businesses springing up everywhere and offering a welcome alternative to the big business development going on in St Andrews Square at the East End. Just next to our two Frontiers stores, we have been joined by Oska, and Deciem who are opening their first Scottish store shortly. On the other side of Town, Leith walk is an amazing area of contradictions, locals, newcomers, art, culture, food.

Its being touted as the coolest place in Europe at the moment by everyone, but it’s always been cool and full of interesting folk.

Do you have any personal favourite items from the new Oliver Spencer Spring Summer 19 line-up?

The Oliver Spencer SS19 collection has been very strong in store and we are delighted with the sales so far.

Great cloth, interesting detail, and good fit for the sartorially-minded man. Personally, I’ve had my eye on the relaxed look of the unstructured Theobald Jacket and Drawstring Trousers. Joe grabbed two of the New York Special shirts as soon as they were delivered, in Vernet Yellow and Indigo. It’s always a good sign when the guys in the store are sporting the goods!

The 'S' Word

The Brookes Jacket 'Evering' Stone

This month, we take a closer look at Oliver Spencer’s sustainable efforts and its quality-first, provenance-forward approach to fabric words by Will HALBERT

O

'Its naturally rich

liver Spencer the brand is, first and foremost, the vision of Oliver Spencer the man. From market stall to catwalk, the self-taught tailor, shopkeeper and all-round driving force behind the brand cut his teeth on the tides of the fashion industry for over a decade before founding the Oliver Spencer brand in 2002. It should come as little surprise, then, that for a man - and indeed a brand - like Oliver Spencer, concepts of origin and provenance aren’t just lip service, they’re founding pillars of an overarching philosophy.

Everything the brand produces is not only stamped with a country of origin label, but also the coordinates of their design studio in the basement of their 62 Lambs Conduit Street store. Such is the brand’s love for the provenance of their product and its journey to their customers. Theirs is a unique personality, delivered honestly.

For almost two decades, and with ever-growing dedication, Oliver Spencer has sought out the finest fabrics and yarns from artisanal British and Italian mills, it has made every garment in only the best European factories and workshops, and it has done so with an increasingly keen eye on sustainability. Bottom Line? Quality, sustainability, and provenance sit pretty high on Oliver Spencer’s list of priorities.

This is particularly apparent in the brand’s inspired use of Evering linen. Sourced from a small mill in Ireland, Evering linen plays a key role in Oliver Spencer’s spring summer collection.

Known for being a breathable, lightweight fabric, the Irish linen is extremely durable when woven tightly. Its naturally rich texture, endless versatility, and exemplary ecological properties ensure an Oliver Spencer garment’s quality from the ground up, whilst also reducing the brand’s environmental footprint significantly. It does this on a number of fronts: Not only is linen completely biodegradable, it also requires far less chemical treatment than most other materials. This, paired with linen’s naturally hard wearing construction, means that it fits the bill for a more socially conscious, buy less, buy better way of shopping.

Oliver Spencer’s latest iteration of their Brookes Jacket is a shining example of both the material's versatility and the brand’s insistence on quality from the ground up. A seasonal update of the brand’s traditional, unstructured linen tailoring, the Brookes Jacket offers a slim fit, two button silhouette made from Evering’s Stone linen. A menswear mainstay that will be worn and admired for years to come, the jacket offers tangible proof of Oliver Spencer’s dedication to producing quality garments from quality fabrics.

With a fabric-first, provenance-forward approach to its spring summer collection, Oliver Spencer have once again upped the ante on its sustainable efforts and, in doing so, have elevated its latest lines from seasonal fancy to environmentally-friendly, future-proof investment. EJ

texture, endless versatility, and exemplary ecological properties ensure an Oliver Spencer garment’s quality from the ground up, whilst also reducing the brand’s environmental footprint significantly.'

Issue 44 | The Essential Journal

23

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The Essential Journal | Issue 44

ONE MILLION YARDS OVER FIVE DECADES OF SUBCULTURE AND THE BUTTON-DOWN

INSIDE

THE SERIES We chat to a curated collective of inspirational individuals

ARTICLE OF NOTE We take a look at the history and

heritage of the Harrington jacket

MAKING MUSIC HISTORY Ben Sherman & PRS put the UK's top emerging artists centre stage

BENSHERMAN.CO.UK

1963

COMING UP AT BEN SHERMAN

Ben Sherman, born Arthur Ben Sugarman, returned to his native Brighton from the USA where he had been working in the garment industry and decided to launch his own range of shirts. Inspired by the Ivy League style of 1960s America, the shirts Ben made were unlike any available in the UK; A buttoned-down collar, a box pleat and hanging loop, a breast pocket and a button at the back of the collar. All of these elements making up the DNA of the Ben Sherman shirt.

NEW CARNABY ST. STORE OPENING Carnaby St., London - May 11

CARNABY ST. IN STORE PERFORMANCE Carnaby St., London - May 23

CONTENTS PAGE ONE BEN SHERMAN: THE MAN, THE MUSIC & THE BUTTON-DOWN An introduction to the brand that needs no introduction

PAGE TWO to THREE THE SERIES A curated collection of inspirational individuals, featuring: James Chuter, Bushy, Tom Ravenscroft & Nicholas Sinclair

BEN SHERMAN:

PAGE FOUR

THE MAN, THE MUSIC & THE BUTTON-DOWN

THE ICONS A masterclass in the timeless, the enduring and the endlessly fashionable

PAGE FIVE ARTICLE OF NOTE: THE HARRINGTON Born in Britain and a hit overseas, we take a look at the history and heritage of the Harrington jacket

PAGE SIX BEN SHERMAN X MOMENTUM The PRS Foundation and Ben Sherman partner up to shine a light on the UK’s best emerging artists

WWW.BENSHERMAN.CO.UK

BENSHERMAN BENSHERMANUK BENSHERMAN1963 BENSHERMAN1963 ONE

An introduction to the brand that needs no introduction

F

or over 50 years, Ben Sherman has effortlessly brought together the razor sharp and the casual cool to offer classic, trend-proof styling for the modern man. Since 1963, when the company’s founder returned from the USA with a mission to change the face of men’s fashion, the Ben Sherman brand has steadily become a beacon for style, creativity and self-expression.

A real dress-code chameleon with style and attitude to spare, Ben Sherman has always had its finger on the beat of the musical pulse. From the Mods, to the Suedeheads, to the Ska fiends, Ben Sherman has enjoyed some serious time in the subculture spotlight. And in many ways, it feels like it’s just getting started.

Revelling in the legend of its musical and 'Ben Sherman has been an omnipresent label in my wardrobe subcultural roots Ben Sherman continues to push since I was a young lad, the DNA of the brand wove through boundaries with lines that not only offer a visual call-back to style’s golden years, but offer an exciting glimpse of the unique directions in which many subcultures I was a fan of, from Two Tone, to suedehead, the brand is headed. We could go on, but we like to think that legendary art director, Brian Cannon to Northern Soul - and whilst new subculture identity has waned (creator of some of the 90’s most iconic album since the advent of the internet, Ben Sherman continues to be as covers) sums it up best:

strong as ever as a unifying fashion icon.'

BRIAN CANNON, Art Director & Founder of Microdot

1967

THE SERIES A Curated Collective of Inspirational Individuals

style had become quite boring to execute, which at the time was quite complex but random ink doodles. They were always hard to finish and a chore to draw. Other than designing some record sleeves for some DJ friends towards the end of University, I barely drew anything for years.

I knew I needed to make it fun again and started thinking about how. While living in Sydney, I ran past the Bondi beach front wall, which is filled with murals organised by the council. So I gave them a call and they assigned me a spot. It was just the change I needed. The time limit forced me to push through and finish, and interacting with the public throughout the day was really interesting. That wall got me a commission in New York when I was over there a few months later, so I decided to really start working hard at it when I got back to London at the start of 2017. Since then I’ve finished nearly 50 walls and installations, and am loving it. It's great to have found my passion again after so many years without it.

JAMES CHUTER ILLUSTRATOR & MODEL

Tell us a little about your path to becoming an artist?

I was always drawing as a young kid, often on the floor of my bedroom with films on in the background. Aliens, Terminator, Star Wars, Jurassic Park and Jaws were on heavy rotation, So I was often copying spaceships and creatures and making up my own characters.

My dad always doodled on paper when he was on the phone, so I learned to love filling a page with random marks and shapes with no real plan on how it would end up.

Then around 10 years old or so, we had a new art teacher at school who was incredibly supportive and introduced me to Keith Haring.

I loved the bold outlines and colours. It was probably the first time I became aware of people painting large murals.

At college, I quit art due to a much less supportive teacher, and focused on studying film. I also became pretty obsessed with making music on Logic pro. Whenever I had spare time I’d gravitate towards that over drawing. My art

Your work is often very playful and colourful, has this always been an element of your work or has it drastically developed over time?

Colour is fairly recent. Before I started painting walls, I used to draw black and white ink doodles. So my first wall was basically a large version of this. I used a black paint pen for the entire thing, and for the next five or six walls after that. The amount of colour has increased as I’ve started to learn how to use spray paint.

I never intended to use so much colour. In part it's probably a reaction to the often grey dull streets I’m painting on. I think a couple of ideas I had needed colour, and people have really responded to that, and then requested it when booking me for commissioned work. I've had a couple of UV Neon commissions recently.

That's been a fun challenge, as you have to find a way to make six very different colours work together. I still feel like I’m finding my style, so I’m keen to keep experimenting.

You’ve been lucky to travel the world through modelling. Has modelling given you a bigger platform for drawing and do you often combine the two?

I have been incredibly lucky. Unfortunately for most of my travels I wasn't drawing so haven't left my mark that much! Modelling has given me the chance to spend quite a lot of time in New York over the last 10 years, a city I find very inspiring. While living there on and off, and through travelling all over for work, I've met many amazing and interesting people, and made some very creative friends. I think this has really helped me start my art career, as that network of people have suggested me to their friends or colleagues for potential commissions and projects. I wouldn't have had my first paid commission without a good friend suggesting me for it.

At the moment I’m most grateful for

Ben Sherman opens his first store in Brighton, called ‘Millions of shirts inc’ which was named after The Rolling Stones song. Two more shops followed in London, one being on the infamous Carnaby Street. Soon the shirt was synonymous with the youth movements of the 1960s.

B

en Sherman was a legend in his own right, a man renowned for always embracing the new and the different. A man on a constant search for the very best of things, Ben Sherman was a passionate businessman with an artist’s soul. Over the years, Ben Sherman provided insight and inspiration across a number of industries, disciplines, and artistic avenues. Taking the form of conversations with fellow visionaries, creators and budding artists, The Series is a celebration of those insights and inspirations.

modelling as it allows me to earn a living without working full time, which allows me to make art. More importantly, it relieves the pressure to have to support myself financially from my art alone. This allows me to turn down commissions that aren't right for the development of my style or career, jobs I’d otherwise have to say yes to.

You’ve spent a lot of time in New York and Sydney, what draws you to these cities? Are these two cities also your favourite places to draw inspiration from for your art?

Firstly, they are two of a handful of cities that are hubs for modelling. Places you can stay for a few months and work regularly. So I've always taken advantage of that. I live in London, and hate winter! So I chose Sydney initially as a way to escape winter for 6 months. I'd been before a couple times briefly, and have some good friends over there so it seemed like a no-brainer. As I mentioned before; living there rekindled my love for art. If it wasn't for the local council being so supportive and letting complete amateurs tackle large public, walls I might not be painting today. Also living in such a beautiful country, by the sea, with fresh air and sun makes it hard to be stressed. And you're much more likely to want to draw when you're not stressed!

New York is definitely an inspiration. I could go on all day about that city. I find the energy, the attitude, the architecture, the sounds, the views, the sunsets, everything about it incredibly inspiring. There's also a lot of galleries that support and show work from contemporary artists that I have been a big fan of for a while.

I always have an amazing time when I am there.

And it always inspires me to work harder.

'New York is definitely an inspiration. I could

go on all day about that

city. I find the energy, the attitude, the architecture,

the sounds, the views, the sunsets, everything about it incredibly inspiring'

What does Ben Sherman mean to you?

Ben Sherman means a lot to me! About 10 years ago, I was booked for four of their advertising campaigns in a row, which really helped further my modelling career. I don't think I would have had half the opportunities to work and travel so much with this job without that exposure quite early on. For a long time I had a shaved head (something I miss!) so I've found some of the mod subculture fashion has suited me quite well. The brand has changed a lot since I worked for them back then. I'm loving the casual suiting they do at the moment.

Do you have any major plans for 2019 that we can hear about?

My goals for 2019 are to get much better with spray paint so I can experiment with shading and shadow in some new pieces. I've also had a rented studio space for the last few months that I hired so that I can start making canvas work.

I'd love to have a gallery show in future. I like the idea of being able to spend a week or two on a canvas, instead of a few days on a wall, so I’m interested to see how that changes my style.

Other than that, I’ll be juggling commissions and looking for bigger and better walls to paint.

I'd love to try and paint in some new cities too.

What’s your favourite Ben Sherman piece of clothing and why?

Probably a Black Harrington jacket I was given while shooting one of their campaigns 10 years ago. It was something I immediately lived in and has lasted incredibly well. It's a classic design and incredibly versatile. And of course it reminds me of being lucky enough to be part of the brand’s advertising campaigns that kick-started my modelling career.

If we took a look through your ‘Recently Listened To’ on Spotify/Apple Music, who would we find?

I've started following playlists more recently so I’ll name a few: Studio Barnhaus, Jazz selected my MCDE, Rhythm Section HD, Tech Nicholson 27/05/17, This is: Philip Glass, Cinematic Orchestra and a few Jazz ones I’ve made for myself. There's also some great mixes on Soundcloud by Nightmares on Wax and FKJ that I listen to often.

How do you decide what to wear in the morning?

I definitely dress for function. When I find something I like I tend to stick to it! Nearly my entire wardrobe is basics in white, grey, black and navy, paired with jumpers, coats, jeans and jackets in the same colours. This way, nearly everything I own works together and I don't have to spend much time deciding what to wear. I've also found darker tones go better with my skin so avoid bright or pale colours.

TWO

1970

Ben Sherman famously ordered a million yards of Oxford cloth, a quarter of a million yards of gingham and a quarter of a million of yards of colourful striped material from his American fabric mill, to keep up with the demand on the brand.

sounds. Also just because someone doesn’t play your first record doesn’t mean they won’t play the next one. Keep sending!

Do you still manage to get out to gigs, if so, what gigs have stuck with you of late?

I’ve two young kids now so not as much as I did but still quite a bit. Recently, James Holden at the Queen Elizabeth Hall. I’ve long been a fan of his mystical ways, he just gets better and better.

Sat crossed legged on the floor surrounded by cables and samplers, in a slightly meditative state, surrounding him a band of hugely talented musicians. Rarely has someone managed to mix electronic sequencing with a live improvising band with such fabulous results. Also, Nubya Garcia at the Winter Jazz Festival. Amazing.

Everyone got schooled that night.

I’m sure it’s an extremely personal situation, but is there anything would you say to someone finding themselves in a similar situation?

The most important thing is to understand that it’s not forever, and to get organised. The most important thing you can do when you have nowhere to sleep is be organised. Do as much with your day as you can, and work towards making the dark days a thing of the past.

BUSHY

MUSIC PRODUCER

You’re multi-talented, but which came first Modelling, music, skateboarder - and how did you get into it?

To be honest it was probably music but it was never something I thought I would do. My sisters are both amazing singers and I guess I watched and learned from everything they did. Their creativity and talent were really big inspirations for me.

At that point dancing was my passion, so I didn’t take up skateboarding until a little later on. After college I ended up modelling. I was cast for one campaign and that led to another and it’s just been a crazy journey ever since.

I actually found my way back to music by accident: I was in the studio with some friends and ended up freestyling on a track and in this group and performing all over London. The group separated into three separate collectives and I’ve been working on creating my own sound ever since.

Tell us a little about your path to becoming who you are today? Am I right in understanding you were homeless for a little time?

Yes, I was homeless for a period of time, but I have taken so many positives from it. I feel like you never rise to anything until you hit rock bottom. I had to let everything go, whether it was fear, people, anything. All that mattered at that time was staying alive. It gave a new focus and passion to everything I did, and I learned in order to overcome it, I had to let it all go; everything I had ever learned. If I was going to get out I had to become a completely different person.

THREE

How does it feel to be living and working in London at the moment? Do you feel like with the commercial success of Skepta and Stormzy, British hip hop is finally having its voice heard on the world stage?

It feels amazing to be living and working in London right now, but I can’t help but feel it’s an important time to push myself elsewhere if we are to help each other expand further. I think it’s important to see and experience new places, we can’t just leave it all up to Skepta and Stormzy and the like.

What are your fondest music memories?

Going to see my sisters performing at their gigs or at family weddings. I think one of my first albums I bought was Will Smith’s Willenium!

If we took a look through your ‘Recently Listened To’ on Spotify/Apple Music, who would we find?

A lot of the times I’m writing new stuff so I won’t listen to music. But lately I’ve been revisiting old Weeknd stuff like House of Balloons. It really depends on how I’m feeling at the time.

What does Ben Sherman mean to you?

I think Ben Sherman is a huge British brand, and it’s been around for a very long time.

The 60s was an amazing era for style, and even more so for music, I’m a big fan of jazz, and Miles Davis had such an influence on both jazz and the brand itself.

TOM RAVENSCROFT RADIO DJ

Can you tell us a little about your journey to becoming a radio DJ? I starting Djing at University and collecting records and getting a bit obsessed. Then one day, about 12 years ago, my friend Hermeet, who was a radio producer, asked me if I fancied doing a pilot for a music podcast for Channel 4 Radio. This was back when there were hardly any music podcasts out there, so we managed to pick up a lot of followers quite quickly. One of whom was BBC 6 Music’s Tom Robinson who asked me to cover for him whilst he was away. A couple of years later they gave me my own show.

What’s your favourite Ben Sherman piece of clothing and why?

I’ve always loved the gingham shirt! I used to have one when I was younger and it never really left me. It was always something that I’d wear a lot.

You’ve always been an advocate for new music, have you seen any major changes for those looking to make it as a performing artist or band in your time?

There are so many more avenues you can take now, it feels more democratic. Radio has been revolutionized by the internet, as has music press and it’s made it easier for you to be heard, to find your audience. It’s made things a lot more interesting. Finding venues to play live seems to have got tougher though, particularly for bands. Musicians with a thirst to perform can usually find a spot to commandeer though.

How do you decide what to wear in the morning?

I decide what to wear in the morning by literally trying to find colour schemes that work. If I’m honest, a lot of times I dream about an outfit before I put it together, or I’ll see something and be like ‘that would go perfectly’. I’m inspired by pretty much everything around me.

You must be inundated with new music, how does a band/artist stand out from the crowd and grab your attention?

Just send it in, I get through it all eventually.

It is much easier, quicker, to go find things for myself but I do listen to all my post. As for appearance, design, I don’t tend to take much notice of it until after I’ve fallen for how it

For young people who want to get into radio djing, what tips would you give them?

Find a local station you’re into and go bug the hell out of them. There are so many great internet stations out there now find one that fits in with your tastes and take your angle on the music you love. Try and get as much time on the mic as possible, the more you do, the more control you develop over your voice, delivery, style etc.

Do you have a favourite record shop?

Red Eye Records in Ipswich. It sells mostly Drum and Bass, Jungle and Hardcore. It was the first record store I built up the courage to go into and buy a 12’’ single. Me and my friends all chipped in to buy it: Jimmy J and Cru-L-T – Six Days on The Run. I still have it. Also Sounds of the Universe, Honest Jon’s, Hardwax in Berlin and recently 2 Bridges in New York.

If we took a look through your ‘Recently Listened To’ on Spotify/Apple Music, who would we find?

On inspection and in no particular order: Maximum Joy; Tierra Whack; Ela Orleans; Solange; Quelle Chris; Dele Sosimi; Susso Justin Walter; Aphex Twin (I often cook to Ambient Works); Ross From Friends.

What does Ben Sherman mean to you?

I remember my dad getting some Ben Sherman shirts when I was a teenager and me poaching one of them for a night out. Everyone thought I was dead smart. I never gave it back. It was way nicer than all the other shirts I owned.

What’s your favourite Ben Sherman piece of clothing and why?

The Polo Shirts. It always felt like a bit of a treat putting one on. I’m pretty mucky though so they don’t tend to make it to the end of the day.

How do you decide what to wear in the morning?

My wife and some close friends are all fashion designers, so generally whatever I get given for free. This can result in some pretty ridiculous outfits. Mostly though, sweatshirts and jeans, basic dad style. Nice clothes covered in food, if that’s a look?

1987 2002

Ben Sherman sadly passes away after having retired to Australia. The brand is firmly cemented into the youth culture of Britain and has a loyal legion of fans covering a myriad of generations.

Ben Sherman opens at 50 Carnaby Street which is where the flagship store still stands today. 50 Carnaby Street was the site of several important music clubs through the 20th century and the epicentre of London's musical subculture.

THE

I’ve got a few releases lined up, the first coming out over the next month or so. There’s a real dancy, club track vibe to it so it’ll be fun to see how everyone reacts to it once it drops. 2018 saw me switch on to my music again in a big way, and with a new focus. I promised myself I wasn’t releasing anything in 2018, I was dedicating the whole year to writing, and that’s what I’ve done. I mean I’ve got like two albums that I’ve already made just waiting to be let loose. I’ve done the work, put down the tracks.

Exciting times ahead for sure!

Who would you consider to be your biggest influences?

This is a toughie! I do have influences, everyone does whether they know it or not. But being completely honest here: I’m not trying to emulate anyone. I want to walk my own path, I don’t want to be treading anyone else’s ground.

I don’t mean that to be vain or conceited, but I want to make my own sound, I want to pioneer my own style. The pioneers didn’t have anyone to look up to, they just did it, and they became the originals. I wanna be original. When it comes to rap all the big names are there: I listened to a lot of Biggie and Tupac and all that. But I’m not trying to go where they went.

NICHOLAS SINCLAIR RAPPER & MODEL

Tell us a little about your path to becoming a musician?

It all started with my mum to be honest. She was into her music, always playing me the old school and gospel hits. She had a studio in her house. She started to notice that I was really developing an interest in music so she set up the studio in my room. I started getting my own tracks down, then I started rapping over my own beats. And it really just snowballed from there. I took a little break from the music when I started modelling, but It’s always been my main passion if I’m honest. It’s always been the one thing I’ve aspired to be good at, and it feels good to now be in a position where I can dedicate my time to it.

Where do you write your music?

No lie: I can never write when I actually take the time out to do so. There’s no one place or time that I dedicate to writing. Sometimes I’ll just be walking down the street and I’ll just spit a random bar, and I’ll know I’m on to something.

So I’ll have to stop there and work it through.

It’s not a planned thing, but when it takes me I can write two or three songs in a single day.

And I mean whole, entire three minute songs, not some vague outline.

The lyrics almost always come first. I’ll just freestyle those acapella. The music comes later.

There’s always a story to tell. That’s really what I’m interested in, lyrically speaking: I want to tell a story.

Do you have any new material coming out this year?

ICONS A masterclass in the timeless, the enduring,

W

and the endlessly fashionable

ith over five decades behind them, Ben Sherman are no strangers to marching forward and pushing boundaries. But as with any brand of their calibre, they know all too well that the best progress can only be made with the help of the best foundations. Ben Sherman’s Icons are tangible, triedand-tested proof of those very foundations.

Seasonal mainstays produced to exacting standards. A core line of sorts. Each and every garment - from the Oxford shirt to the Harrington Jacket - is a menswear classic in its own right: A staple, a style institution. These are Iconic wardrobe staples for the modern man. Basic tenements of a timeless style, a foundation of authenticity and quality upon which the entire brand has been built.

What are your fondest music memories?

Making music will always remind me of just being a kid, playing around and trying to get to grips with things at home. One time when my friends were around we just started hitting buttons and trying to record. We’d upload music and start rapping over it. It was a bit of fun more than anything, we were just messing around. But little by little I started getting the hang of it. Looking back, I used to think I knew what I was doing but in truth it was a long learning experience. I’ve come a long way but I’ll never forget how it all started.

What does Ben Sherman mean to you?

I’ve worked with Ben Sherman a few times and it’s always a blast. Ben Sherman as a brand is so ingrained in British culture and subculture that it’s always a learning experience working with them. They’re always pushing things a little bit further. As a kid, my mum would always put me in Ben Sherman when I needed to look smart. My school didn’t force you to wear a uniform so I was always decked out in Ben Sherman. It was kind of my uniform, in a way.

What’s your favourite Ben Sherman piece of clothing and why?

It’s the short sleeved gingham shirt. It has to be! It’s such a classic, iconic piece. It’s a little piece of history isn’t it? You wear it and you’re a part of something. It also looks sharp, man.

Such a clean look that works anywhere for anyone. You can bring your own style to it.

How do you decide what to wear in the morning?

Not gonna lie, man I don’t really follow any kind of trends or fashions. Don’t get me wrong, I like to look the part and I like what I’m wearing to be clean and new, but I’m not trying to follow a particular style. Comfortable and functional are always going to win out over anything. I’m just has happy in a fresh tracksuit as I am in a shirt. I just keep it nice and simple.

The Oxford Shirt

Perhaps 'the icon' of mens fashion, the Oxford shirt carries the same features that made it a traditional menswear statement back in 1963. Made of premium cotton with a two finger button-down collar and back box pleat, the Oxford shirt remains a true original.

The Gingham Shirt

Ben Sherman famously ordered a quarter of a million yards of gingham fabric such was the demand in 1970.

Remaining as iconic and popular to this day, the Gingham shirt made of 100% cotton features a two finger button-down collar, neck-back button and locker loop.

The Romford Polo Shirt

Adopted by subcultures throughout the decades, the Romford polo shirt is an icon that's impossible to ignore.

The perfect balance of sportswear style and everyday comfort, the polo shirt is ideal whether you're on stage or in the crowd.

The Harrington Jacket

Often imitated though never beaten, the Harrington jacket continues to be a true icon of quality, style and comfort. Complete with the Ben Sherman house checked lining, along with the classic Harrington collar and ribbed cuffs, the instantly recognisable jacket is ideal for any occasion.

The Chino

Heavily influenced by the Ivy League style of 1950s America, Ben Sherman's chinos featuring a front coin pocket and stylish turn up tape detailing are as synonymous with today's university campuses as they were back then.

Available in varying styles and fits, the chino is the perfect addition to any smart casual wardrobe.

FOUR

2018

Ben Sherman celebrates it’s 55th birthday and now has 16 stores across the UK and a global presence with stores in Australia, Indonesia, US, Canada, France and Germany. The brand is still famous for their button-down Oxford shirts but now are also known for their Mod target t-shirts, Harrington Jackets and twin-tipped Romford Polos.

ARTICLE OF NOTE

THE HARRINGTON

Born in Britain and a solid hit overseas, we take a look at the history and heritage of the Harrington jacket

S

ince its creation in the 1930s, the Harrington style jacket has become both a benchmark in modern cool and a recurring reference point for budding and bygone subcultural styles alike. Classic in its construction and enduring in its legacy, the Harrington Jacket has picked up quite the fan base over the course of its 80 year tenure.

From the collegiate cool of James Dean and Elvis Presley, to the more casual, mod-infused trappings of Britpop bastions like Damon Albarn and Paul Weller, the Harrington’s versatility has earned it a place in many a heart and many a wardrobe.

The clean, stout silhouette and iconic, stand-up button collar are standout features of the piece, as are the angled, hand-warmer pockets and interior gingham lining. They’re subtle qualities in isolation, but together? Together they form the understated-but-universal calling card for the world's most recognisable jacket.

It was in the storefront window of London’s iconic Ivy Shop that the jacket would be given its unofficial name. Displaying the paired-down sporting jacket front and centre, John Simons - store owner and forerunner of mod styling - attached a hand-written label that described the jacket as ‘The Rodney Harrington Jacket’. The name was a reference to a character from the US soap opera, Peyton Place, who was almost always seen wearing the jacket. The name stuck, and the rest, as they say, is history.

For all of its lofty lineage, however, the Harrington is nothing if not versatile. By turns militaristic and sporting, punk yet sartorial, the Harrington has long been the jacket of choice for suedeheads, rockabillies, and rude boys alike, all united by the timeless charm and staple stoicism of a jacket now famous for standing its ground in fashion’s forever-forward march.

In short, it’s exactly the kind of jacket that makes sense in a Ben Sherman line up. By all accounts, the Harrington jacket - like the Ben Sherman brand represents a symbol of enduring style and subcultural cool. A symbol that - over the decades - has beaten the odds of today’s fast fashion frenzy to become a true staple of timeless and classic style.

'...the Harrington has long been the jacket of choice for suedeheads, rockabillies, and rude boys alike, all united by the timeless charm and staple stoicism of a jacket now famous for standing its ground in fashion’s forever-forward march.'

FIVE

2019

Ben Sherman launch The Series campaign with four influencers across a variety of industries. The campaign seeks to celebrate the history of the brand and its influence across many subcultures.

The PRS Foundation

Momentum music fund in numbers

2013 The first year of The Momentum Music Fund

£5,000 to £15,000 The size of the Momentum Music grants awarded to musicians

Spotify Official digital partner of the Momentum Music Fund

£20,000

Above: Sam Fender plays at the Momentum showcase tour at The Great Escape (2018)

MAKING MUSIC HISTORY

Grant support offered to Liverpool-based artists thanks to Liverpool City Council’s partnership Momentum Accelerator

200 artists Supported since 2013

90 NEW ALBUMS Produced thanks to the Fund

100 UK TOURS Organised since 2013

650 LIVE DATES Across the UK

£13 million Generated for the music industry so far

The PRS Foundation Momentum music fund and Ben Sherman partner up to shine a light on the UK’s best emerging artists

M

usic is at the heart of everything Ben Sherman does. From the rough n’ ready raucousness of the 60s to the two-tone, rude boy tunes of the 70s and 80s, Ben Sherman has shirted and suited them all.

For over 50 years, the brand has been synonymous with some of the world’s most vivid and vibrant musical subcultures. In this respect, their latest partnership with PRS is a no-brainer: It just makes perfect sense.

PRS invest in the future of music by supporting talent development and new music across the UK; enabling songwriters and composers of all backgrounds to realise their potential and reach audiences across the world.

Since March 2000, they have supported over 6,700 new music initiatives to the tune of over £32 million.

According to Joe Frankland, Senior Grants and Programme Manager at PRS Foundation, ‘PRS Foundation’s Momentum Music Fund offers exciting UK-based artists and bands who find themselves at crucial career-tipping points grants of up to £15,000 to support recording, touring and marketing. Momentum has had a significant impact on the careers of artists including Years & Years, Little Simz and Sam Fender.’

Together with Ben Sherman, the PRS Foundation will put some of the UK’s best upcoming artists centre stage in a series of live showcases at some of the UK’s most exciting venues. The partnership will not only focus on the UK’s most promising, emerging artists, but will act as a fond nod to Ben Sherman’s lifelong links to music. Watch this space.

Sign up for more information on artists and dates here: www.bensherman.co.uk/momentum

'Since March 2000, [PRS] have supported over 6,700 new music initiatives to the tune of over £32 million.'

SIX

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CONSENSUS

Reaching a Consensus

Instagram Jamie FERGUSON @jkf_man | 49.1k Menswear & Lifestyle Photographer How has the introduction of Instagram impacted what you do for a living? Has it changed the way you work, live, or do business?

Instagram has allowed me to reach a much wider audience and has certainly meant that I've acquired or been approached for work from brands and individuals.

Do you have a particular approach to how you post (in terms of times, style, content)?

To be perfectly honest, no. If I can I try to post once a day, usually in the morning, Monday to Friday, I like to try and keep my evenings and weekends free from worrying about my account. In terms of style or the overall look of my feed I don't really pay too much attention to it. I post photographs, usually taken during the course of my work, that I like. Once they're up, I try and answer any questions or comments that may arise but mostly I try to get on with other editing or projects I have on the go.

In your view, has Instagram changed for better or worse over the years since its inception?

Are there any stand-out changes for you?

Absolutely. When Instagram first came out, everybody was pretty much posting images they had taken with their camera phone. Now nearly any account that has some element of commerciality to it is using professionally-shot-and-edited photos. To that end, perhaps some of the spontaneity has been removed from the platform. It's maybe had an injection of that recently with the introduction of ‘Stories' but it's certainly not as strong as it was in the beginning.

I certainly have felt the pressure to post. Only in the last year have I felt less compelled to do so. I'm trying to focus more on the work rather than 'feeding the beast'.

Would you consider Instagram to be more of a professional platform or a social one? What do you look for in the posts of others?

I think it started out as a social platform but has now become a Issue 44 | The Essential Journal

We reach out to those in the know to get their thoughts on the evolution of Instagram

professional one. I don't know if there's anything particular that I look out for. The majority of what's on my feed is menswear related brands and accounts as well as other photographers and friends in the industry.

I like seeing interesting menswear photographed in a different way and with a little bit of fun.

What do you think the best and worst aspects of Instagram are?

Probably the best aspects are the social and creative side to it. I've met and made genuine friendships with people who I probably never would have met otherwise and I've seen imagery that has pushed me to try and be a better photographer.

The biggest downside is probably the mental health side of things. As with a lot of social media these days I think we’re only really starting to see the potential side effects that its use is having on the wiring of our brains and our attitude to others and the world around us.

What do you think is next for the platform?

I'm not entirely sure! But honestly; I'd love to see it somehow try and get back to that spontaneity of its early doors.

Matt LOVELL & Rob HAMPTON @theoystermen | 4.8k Founders of The Oystermen How has the introduction of Instagram impacted what you do for a living? Has it changed the way you work, live, or do business in your particular industry?

I’m not sure it's really changed what I do, it's just something that evolved naturally to be part of the work day.

I think it's still relatively undefined how much it will change the hospitality industry, how it can really be worked to your advantage in a competitive marketplace. I guess we are really only scratching the surface on that. It has definitely highlighted the importance of presentation, and provided a wider reach and way of creating networks with other likeminded restaurants and people around the world, which is not

necessarily beneficial to business but is definitely fun!

Do you have a particular approach to how you post (in terms of times, style, content)?

We try and keep it simple and genuine. We take most of the pictures ourselves, with a few professional shots thrown in, but there is no real defined “style” to our account. We want it to look natural and really convey what the experience of dining at The Oystermen might be. Its not just fancy food pics and its not just pictures of customers, we really try and mix it up.

In your view, has Instagram changed for better or worse over the years since its inception? Are there any standout changes for you? Are there any associated pressures to using it?

I think Instagram is great, the changes have made it more business friendly, and perhaps moved it away from regular photo sharing.

Would you consider Instagram to be more of a professional platform or a social one? What do you look for in the posts of others?

I kind of like that it fits in the middle.

I tend look for more real experiences, away from obvious paid content, professional photography and ordinary people thinking they are really influential. I think if you spend time on Instagram and can work through the rubbish it can be quite rewarding in helping you find experiences that interest you. Like everyone I guess I try and look for more genuine posts.

What do you think the best and worst aspects of Instagram are?

Instagram is by far the best platform for getting across the feel and atmosphere of your restaurant. While food pictures exist almost as a category in themselves (#foodporn), we try and use it more to present the whole experience you get when dining with us, the staff, the size, the location, the quality and price point. The worst aspect is of course that it’s full of spam, influencers who aren’t influencers (the amount of contact we get from people looking for a free lunch) and weak, paid-for content that it can be difficult to sort the chaff from the quality.

What do you think is next for the platform?

Turning likes and follows into business! For restaurants it's all about turning impressions into business, so things like “book now” buttons, ways of tracking where people are, location

sorting on food rather than having to view locations or specific hashtags would be great. Also better linking in with facebook business pages and reviews/recommendations would allow profiles to become less aspirational and more business focused.

Victoria TURK Senior Editor for WIRED & author of Digital Etiquette How has the introduction of Instagram impacted what you do for a living? Has it changed the way you work, live, or do business in your particular industry?

I’m quite unusual in media in that I only recently made my Instagram public; previously, I kept it private and restricted my public social media persona to Twitter instead.

I opened my Instagram account up simply because I found myself interacting more and more with people I knew through work or met at work events – I’ve definitely noticed a shift towards people using Instagram as a professional as well as personal platform, and also increasingly merging those two spheres.

Do you have a particular approach to how you post (in terms of times, style, content)?

I don’t have any real “strategy” when it comes to posting. I’ve always considered Instagram as a more personal platform than, say, Twitter, and I find that posts that give a little insight into your real life are the ones people like best (they’re also the ones I most like to see from other people) so I tend to go by gut instinct and just post what I want. My strict rule is no more than one post in the main feed per day, and I stay away from filters unless they genuinely add something to the image. I use Instagram Stories to share more in-the-moment shots throughout a day, especially if I’m at an event.

In your view, has Instagram changed for better or worse over the years since its inception? Are there any standout changes for you? Are there any associated pressures to using it?

33

CONSENSUS

The addition of Instagram Stories in 2016 definitely changed the feel of the platform. I think there’s a real hunger at the moment for ephemeral social media – see also the trend for people setting up their tweets to delete after a certain amount of time.

This takes some of the pressure off making sure your post is absolutely perfect; you can be a bit more offthe-cuff when you know it’s going to disappear in 24 hours. Stories are fast eclipsing the main feed when it comes to owning our attention. One major change, of course, is Facebook buying Instagram. It did this way back in 2012, but people have been increasingly concerned about how the tech giant may try to change the app or integrate it with its other products since Instagram’s original founders left last year.

Would you consider Instagram to be more of a professional platform or a social one? What do you look for in the posts of others?

Instagram is unusual in that it bridges the personal and professional sphere – unlike Facebook, which is mainly used for socialising with friends, or LinkedIn, which is solely professional. I use it for both; I’ll post pictures of my cat or my holidays, but also posts about professional achievements or events. Regardless whether you’re using it for business or pleasure, people expect a certain level of personality and authenticity if they’re following you as an individual; I think people very quickly see through anyone who is trying too hard to establish an Instagram “brand”.

Francesca Hague @greysuitclay | 15.1k Maker of ceramic homewares How has the introduction of Instagram impacted what you do for a living? Has it changed the way you work, live, or do business in your particular industry?

I came to instagram fairly late on, but at a time when I was starting to develop this little potential business, it was the perfect way to share your work and build a portfolio. It’s been an incredible tool for connecting me to an audience and a group of peers I am hugely thankful to know and have access to Four years on, I know without a doubt, that Grey Suit Clay wouldn’t be here were it not for Instagram. So I guess it’s hugely impacted what I do for a living, as it’s massively helped get me here and enabled me to build this business of my own.

34

Do you have a particular approach to how you post (in terms of times, style, content)?

I don’t really work to any rules when posting. Visually I try not to have anything too jarring in my feed - I’d like to think colour and content wise, there’s a bit of a flow. There’s a mix of process shots and finished pieces as I think it’s important to try and give an overview of the whole thing. It’s just me in my studio, so I try to tell the story of that.

In your view, has Instagram changed for better or worse over the years since its inception? Are there any standout changes for you? Are there any associated pressures to using it?

I think obviously the algorithm change up has been an issue for most users - I definitely noticed a bit of a drop off in my interactions when that whole thing shifted. There’s been a slight feeling that it’s a little harder to reach people, and there’s certainly a pressure to post relevant/interesting content continuously.

I’m not always sure (or sure at all!) what exactly people are interested in seeing with regard to a setup like mine. I mainly post what’s in front of me at the time and if instagrammers are happy to see it - that’s great!

Would you consider Instagram to be more of a professional platform or a social one? What do you look for in the posts of others?

Honestly, both. I have both a professional account for GSC and a personal one for friends and nonsense.

I follow a pretty wide range of accounts; friends, makers, artists and the Instagram ceramic community being the ones I’m most interested in seeing. Anything I find inspirational or funny. Anything I can connect to really.

What do you think the best and worst aspects of Instagram are?

I’ve discovered so many amazing people and projects and things through Instagram - The instant, visual aspect really works for me and it’s an incredible network of interesting and inspirational content if you want it to be.

It’s also a time eating rabbit hole that can make you question everything you’re doing, so, use it wisely and probably sparingly, ha.

What do you think is next for the platform?

It’s difficult to say for sure. The way it’s been going, I’d guess it’ll eventually just become a rolling stream of Facebook style ads and links - Harder to navigate the content you were actually there for.

Maybe that’s a negative outlook, but it’s pretty offputting to have to scroll past fifteen sponsored images before seeing anything from anyone you actively follow. It makes me want to disengage and as such a huge tool for small businesses, that’s concerning.

It might be that I’ve relied on

it too much. A wonderful thing while it lasts (it lasted), but the fact it’s changing is good motivation to broaden my business horizons and get out of the insta loop!

Mark Thompson @singlemaltmark | 10.6K Glenfiddich Single Malt Whisky How has the introduction of Instagram impacted what you do for a living? Has it changed the way you work, live, or do business in your particular industry?

If you ask most people what a whisky ambassador actually does, they wouldn’t have a straight answer. So Instagram helps me communicate not only about our brand, but also how I go about my daily life. It helps me snapshot times of the day in a visual way which I think allows an insight - although I still believe people just think I drink whisky all day and night. It also offers a direct communication to whisky enthusiasts or occasional tipplers across the globe who will often contact me about rare whiskies they’ve discovered or general questions about Glenfiddich.

Do you have a particular approach to how you post (in terms of times, style, content)?

I try to keep my posts around two content types. Firstly, the brand and my role as an ambassador, bottle shots, cocktails or bars I may be visiting, and secondly, the sporty side of my life - either cycling or running.

Although some accounts which only have bottles shots have huge followings, my account is about my life and, therefore, I choose to balance the content in this way. Sure, not all of my followers will like an image of my bike up a mountain, but I do feel it shows a side of my life which keeps me just as happy as if I have a dram in hand. I use insights to track my account and, as most of my followers are drinkers, Friday and Saturday nights I avoid posting because I know everyone is in the pub! Similarly, early mornings are not my best engagement times so I stick to late afternoon, early evening Monday to Thursday.

In your view, has Instagram changed for better or worse over the years since its inception? Are there any standout changes for you? Are there any associated pressures to using it?

Like all tech, it’s become something different from its inception as it grow and develops and the end user becomes more accustomed to it.

Stories have been a good addition

but it took me a while to get involved.

Then a friend explained to me that stories are for all the little things that you wouldn’t necessarily show on your feed, but have interest anyway.

I tend to try and log my travels in the stories and maybe one culmination image for the permanent feed. I use Instagram as my main social platform, but I don’t feel pressured to be updating it all the time. I am a very visual individual and can happily spend time exploring other content, being inspired and finding out snippets of information from other users although, now and then I do come across content which weirds me out.

Would you consider Instagram to be more of a professional platform or a social one?

It’s social, but obviously I’m using it to my benefit for the role I have. I’m a whisky educator and that comes in many forms. Everyone using it is trying to send a message out to their followers, be that for professional or personal reason. I suppose it falls to the end user how they consume what they are being fed.

What do you look for in the posts of others?

Visually stimulating images, so, cats dressed as cowboys obviously. But I’m a big fan of great landscapes and natural environments- perhaps that’s because I spend a lot of time in basement bars? I’m always drawn to great cocktail shots, glassware and cool interior design spaces and good looking people.

What do you think the best and worst aspects of Instagram are?

Used in the right way, it’s a great platform to share really inspiring images or thoughts. However, the complete opposite of that statement is also true. And let’s face it, you only show something once it’s perfectly set and filtered so it’s not exactly a true reflection.

What do you think is next for the platform?

Who knows? In 5 years from now, it may not even exist as something new overtakes it in the popularity race.

Saeed Al-Rubeyi @storymfg | 25.2k Co-Founder of Story MFG

business. We had an Instagram long before we had a product, a website or even a fully-formed idea of what we were doing. It’s an amazing tool for us to engage with people.

Do you have a particular approach to how you post (in terms of times, style, content)?

We try to - but not very hard. The things that go up need to be great pictures, and at the moment we are posting in rows of three, but we don’t have any rules and we don’t plan our diary. We do have Later [a scheduling app for Instagram], and would like to be organised enough to actually use it, but perhaps the way we do it is more authentic.

In your view, has Instagram changed for better or worse over the years since its inception? Are there any standout changes for you? Are there any associated pressures to using it?

I think the platform is getting better from a visual perspective. There’s just a little bit more pressure now to get good engagement on posts to ensure they’re actually shown to people. People tend to hate change with digital services but I personally think Instagram is the single best platform, and it’s getting better and better.

Would you consider Instagram to be more of a professional platform or a social one? What do you look for in the posts of others?

That’s a good question because I think it gets to the heart of the matter: It’s both social and professional (at least from a company perspective). Brands have gone from simply speaking at customers to having to hold a conversation with them.

Asking what I personally look for is a tough one, though. I basically just follow dogs.

What do you think the best and worst aspects of Instagram is?

The best aspect of IG to me is being able to speak to a global niche something that means a brand like ours can find a market even if it's spread thinly across the globe.

The worst aspect I would say is the fakery and photoshopping of people’s looks. I’m all for free expression, but it’s getting a little bizarre and becoming a massive social issue for younger people.

What do you think is next for the platform?

I think it’s clearly going to be more in-app commerce (which I think is already rolling out) and hopefully more growth in the live services. I think the live-streaming element is really compelling but, in all honesty, not quite there yet.

How has the introduction of Instagram impacted what you do for a living? Has it changed the way you work, live, or do business in your particular industry?

Katy has been on Instagram since almost the start, so it predates the The Essential Journal | Issue 44

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Issue 44 | The Essential Journal

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DINING

At the Pass with

Tommy Banks This month Tommy Banks, chef & owner of Roots (York) and the Michelin-starred Black Swan at Oldstead, discusses the business end of social media words by

O

ne of the weird and wonderful things about Instagram is the odd overlap it often produces between the personal and the professional. Nowhere is that more evident than in the food and drinks sector. It seems to me that behind almost any successful restaurant nowadays lies a successful Instagram account.

And why not? Instagram is a great means of establishing a direct connection with guests (aside from them actually sitting down and eating with us, obviously); It provides a lovely behind-the-scenes access to the inner workings of what it is we do here at the Black Swan, Roots and on the farm on a daily basis; and it allows our restaurants an extra platform on which to find our voice and express our philosophies.

Social media has proved instrumental to small businesses. Contrary to popular belief, there’s more to the platform than an endless stream of filter bubbles and voyeuristic vignettes. Many bars and restaurants owe their continued success to the reach that Instagram has afforded them over time. Restaurants are no longer reliant on word of mouth alone, and humble, homegrown spots have become destinations for an emerging group of travelling foodies, guided by the insight of Instagram.

Within the industry itself, there’s a huge community aspect to Instagram that often goes unmentioned in the modern mistrust of the platform. I ate at Moor Hall not too long ago, for example, and I was totally blown away by the place. Mark Birchall is doing some really wonderful things. So tipping off my followers as to how good the place is, is a small and easy way to show support whilst also recommending something new to people, something they might not have tried yet or a place they might not have visited otherwise.

Instagram is a tool great for cultivating that sense of community: It’s a great way to show some mutual respect amongst those in a similar industry. It allows for small gestures of appreciation and support among industry peers. That element is certainly indicative of the nicer side of social media.

That’s not to say that it doesn’t come with its own unique set of challenges. Establishing a voice and feel that is authentic to your restaurant is no mean feat; it can become a full-time job in and of itself. Personally, I treat it as an extension of work; I incorporate it into my daily routine. I don’t have my notifications on, and I schedule specific times to check in on things. The same goes for admin and emails, otherwise I’d be swallowed up by it all.

It’s important that social media works for the individual, that you can embrace it on your own terms and in your own time. It’s a wonderful thing, so long as you’re sure to set a few boundaries.

People can get a little too wound up with the idea of ‘content’, but you have to admit: it’s an extremely powerful marketing tool. It’s a very serious component of most restaurants, and it provides more insight into our work ethic and philosophy than any medium before it. In short, it does take a little bit of planning. That’s not to say I’d ever make a dish based around its ‘grammability’. That would be pretty ridiculous, and woefully inauthentic. But visual flare and aesthetic continuity do play a big part in the restaurant business. So it pays to consider how food will be photographed, especially when in the planning stages of décor and fit out. It’s harder than it looks, but it can be more than worth it. Ultimately, a restaurant’s food is its truest branding, its voice. It should speak for itself, but there’s no denying that Instagram can turn the volume up on it a little when used correctly.

Of course, one of the most honest and organic things about Instagram (at least in terms of the restaurant business) is that it takes a lot of the creative control out of your hands after a certain point. You can fit a restaurant out in a certain way, or prepare a dish to a certain style, and it will still be at the mercy of the smartphone-wielding, amateur photographer. That’s as freeing as it is nerve-wracking, to be honest. But it does help keep you accountable, and that’s never a bad thing.

At the end of the day, it’s important to just stay true to yourself and whatever it is your doing. Do whatever that is with passion and integrity. Do it well and do it honestly. And if you happen to look good while you’re doing it then all the power to you. TB

'Ultimately, a restaurant’s food is

Tommy BANKS

its truest branding, its voice. It should speak for itself, but there’s no denying that Instagram can turn the volume up on it a little when used correctly.'

To find out more about Tommy's food head online: blackswanoldstead.co.uk rootsyork.com

Issue 44 | The Essential Journal

37

And In The End: A Celebration of 50 Years of Abbey Road and Let It Be Thursday 26 September 7.30pm Friday 27 September 7.30pm Liverpool Philharmonic Hall Royal Liverpool Philharmonic Orchestra and The Bootleg Beatles Neil Innes presenter Richard Balcombe conductor Arrangements by Ian Stephens

Box Office 0151 709 3789 liverpoolphil.com LiverpoolPhilharmonic liverpoolphil liverpool_philharmonic

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DINING

Simplicity Done Perfectly In the eyes of Jan Ostle, it’s okay to march to the beat of your own drum as long as it means you’re moving forward words by Will HALBERT interview by Thomas SUMNER

O

pening its doors on Bristol’s Chandos Street in 2016, Wilson’s prides itself on being an independently-operated English bistro that encapsulates the joys of keeping things simple. We caught up with Head Chef and Co-founder, Jan Ostle, to talk about the challenges of owning your own place, celebrating good staff and customers alike, and the importance of fixing your old plates. EJ

You’re off to the farm? Is this a bit of work and play?

I guess it’s the same for anybody who has their own business, there’s never really a day off. We’ve just go a new piece of land, we’re looking at putting all the poly tunnels in and that. It’s a lot of work but it’s cool. So yeah, a bit of work and play.

So does that mean you’re expanding then? What’s the idea behind that?

Indeed we are. Just our growing operation, but yeah. Little by little.

Is that so you can provide yourself, the restaurant, with more produce?

Essentially, it’s so we can get closer to being more self sufficient in the restaurant. That was always the idea initially, but the restaurant just got so busy that it quickly became more of a challenge.

So we’ve just taken on a few hectares now in Barrow Gurney just outside of Bristol. It’s going to be amazing.

they were both great, but I never really did that well in it because I struggled with the writing. I always really loved the hands on aspect of just doing things, I was always active as a kid. My first job was selling bicycles in Oxford.

Then I sort of stopped going to school and my mum said that I had to get a job, so I started washing pots at the local restaurant. I took one look at the kitchen and all those big booming characters in that amazing environment and I just I fell in love with it. My parents have always grown their own food. Dinner was always planned at the beginning of the day. We’d all go to the allotment together. Sometimes I’d cycle with my dad to the local market, buy a fish or a piece of meat from the butcher and then talk about what we were going to cook with it. That was my upbringing, and I realised I had a narrative with it, so took it from there.

So you grew up in Oxford?

That’s right. My dad’s an academic, he teaches at St. John’s. My parents were so, so supportive of my decision to pursue what I wanted to do. They stuck by me through thick and thin, and trust me, there was a lot of thin.

Do you have a team working with you on that?

Well, it’s the brainchild of my wife, Mary [Wilson]. She’s the brains behind the whole operation, really. I’m just the muscle. She’s got a degree in biodynamic farming and agriculture. It’s something we’ve always wanted to do and it’s really starting to come together at the moment.

What are your parents’ heritage?

My mother is a Dutch South African.

She was born in South Africa, and spent her time between Holland and South Africa. She left when apartheid got too much to bare. She was pretty active in the anti-apartheid movement, and I think is still deeply affected. My dad comes from abject poverty and somehow ended up teaching Arabic Literature. I’m not sure how as he’s from deepest Cumbria, which seems like an entire world away.

Can you think of any early influences that led you to becoming a chef and owning your own restaurant?

School’s a funny one for me. I’m in the top one-percentile for dyslexia, so I really struggled at school even though I understood a lot of it. I could never really convey my ideas as such, so I felt quite mute a lot of the time in school.

I loved English and Business Studies,

Do you know where their interest in growing their own food came from?

No I don’t actually. The family seems to be centred around the dinner table and it seems to be an extension of that.

Every weekend as kids we were on the allotments trying to help them out and they loved it. They still do, it’s beautiful.

I guess that feeling of growing something, nurturing it and then using all of

Issue 44 | The Essential Journal

it, seems to have carried through to Wilson’s. Yes, it’s a commercial operation, so it has to make sense, but that’s where it comes from. That’s how I feel about it.

Am I right in thinking that - between washing dishes in Oxford and opening Wilson’s - you’ve worked in a fair few well-respected restaurants?

Oh yeah, I went to these places because I felt I had to. I was never the model employee: I was the one that always let the side down if I’m honest. I always wanted to do my own thing. By proximity, I was working with these people who were so talented that they made me realise what I had to put in. I realised I’d never be the star pupil at any of those restaurants. I was always the runt of the litter. Thinking about it now, in my own kitchen, I believe you’re only as strong as your weakest person. So at Wilson’s we really try to look after people. The kitchen can be a stressful and terrifying environment, so we want to nurture people and listen to what their problems are.

Understanding where they’re struggling is a real big part of my life now. I don’t want people to feel alienated and as if they are doing a crap job. I want to help them succeed and thrive.

What’s the size of the team in the kitchen?

Oh it’s tiny, there’s about four of us.

So that mentality sounds like it’s come from the support you had growing up?

Yeah, I’m so lucky with my upbringing that I’ve always had a space to say when I can’t do something or I’m finding something difficult. My parents always listened to and helped me. They wouldn’t always understand, necessarily, but they always tried to listen. That’s something I try to do myself every day. I try to get better and better at it.

How did you know you were ready to open up your own restaurant?

I suppose every chef has that dream. I couldn’t work for anybody else anymore.

I needed to do my own thing. I didn’t have any money. There was a tiny little shop that came available not far from where I was working and it cost nothing.

So we borrowed as much money as we could and we went for it, with a six month old baby, no less. We did all the work ourselves, put everything on the line. I think that made me work harder than ever before.

We had moved out to Bristol to have our first child. We thought it was a good place to start a family and I was working for a guy there. I was Head Chef of a well-respected gastro pub. I had a great time there, but I still wanted to do my own thing. I suppose our ideas no longer met and so I went off to do my own thing.

So the ideas you had that ultimately became Wilson’s, were they a solution to a problem you saw in the industry?

There are lot of aspects of other restaurants that I didn’t believe were necessary. I really believed the key facts to making a restaurant successful were the staff and the customers. I really wanted to work toward making the experience for both those groups brilliant. We keep the menus small. That way we can make sure that everything is as delicious and fresh and locally sourced as it can be.

Also, it’s important to keep the workload to a level that allows people to excel at what they do. If there’s too much to do, you can’t do all of it perfectly. So by keeping it small and keeping it focussed, we can really focus our staff on the job at hand. They can really succeed at what they are doing. Just focusing on what they need. Listening to customer’s feedback, not brushing it off, and being able to adapt to their needs.

Would you say that cooking and serving at your capacity allows you to produce the best quality food whilst still working within your means?

There are enough customers going out for good food. I’m sure there are people who don’t come to my restaurant because there aren’t chips and that’s fine.

I’m totally cool with that. We do something that’s so specific, we operate in a niche. That niche is now growing. What people are desperate for isn’t choice, it’s quality. And they’re desperate to know it has been done the right way.

It’s easy to open a restaurant and plug

a concept that is completely empty. It’s unfulfilling. My staff - no, my colleagues - we work together, we really believe in what we’re doing. We are not doing it for followers on instagram. We are doing it because we believe in it.

You’ve been open for three years now?

Yeah, it’s just coming up to it. I can’t f*cking believe it. It was never supposed to be this good. We’ve got a fully booked restaurant and amazing colleagues. We just have to start thinking of other ways to improve the way we work, improve on what we do. How we can continue to surpass expectations. It’s always a question of looking back on what we did last week, and coming up with ways to do that even better this week. How can we change this? Where can we move that?

Forever fine tuning.

A good example of this is our plates.

We’re a restaurant that has its own plates, which is already pretty f*cking cool. But these plates get chipped and broken. At first I didn’t care: I said we’d just serve food on chipped plates, but that started upsetting some of the customers, which is fair enough. But I couldn’t bring myself to just throw the plates away, so we started to think about how we could bridge the problem. We had to find a compromise. We started looking into the Japanese art of kinsugi, which is a celebration of life’s little cracks and imperfections. So at the restaurant we try to repair as many plates as possible. It’s a process of filling in the chips with tree resin. It accentuates and celebrates the features of the plate, it shows that it has a story to tell.

So where do you we go from here?

Pffft. I don’t know man, there’s a lot going on in the world. I know what I hope, though: I hope that it stays as it is and we continue to get better and work with great staff and serve great customers.

We want to spend a bit of money on the space and refurb it a bit. I suppose you hear it from everybody. We’ve got a good thing going on and we don’t want to change it unless it’s for the better.

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SECTION

24TH - 27TH MAY BANK HOLIDAY WEEKEND FEAT

ANTI SOCIAL JAZZ CLUB - BERNIE CONNOR DEPTFORD NORTHERN SOUL CLUB - JOSEPH KAYE & ELLIOT FERGUSON NIGHTCRAWLER PIZZA - NO FAKIN NO REGRETS : A NIGHT OF ROBBIE WILLIAMS - ROBIN JACKSON 40 SLATER STREET, LIVERPOOL. L1 4BX THEMERCHANTLIVERPOOL.CO.UK

DINING

The Recipe

Canja de Galinha Compliments of Casa do Frango

O

ur take on the classic Portuguese chicken soup, traditionally consumed as a cure for a cold.

Canja de galinha or simply canja, is a popular chicken soup of Portuguese, Cape Verdean, and Brazilian cuisine. The Portuguese term galinha literally means "hen", but became the generic name for the species. It can contain small pieces of pasta, but we have opted for Carolino rice.

To make our version a little different we add neat Taylor's 10-year-old port, grated boiled egg, mint and pickled carrot. Our broth is made from whole chickens, water, onions, carrots, bay leaves and black peppercorns cooked for 12 hours at 80c - this results in an extremely clean stock both in terms of fat content and flavour. casadofrango.co.uk

Ingredients 200ml Chicken Stock 40g Cooked Chicken 75g Cooked Rice 5g Pickled carrots 1g Mint - Fine Chiffonade 10g Boiled Egg - finely grate 10ml Taylors Port (10 yrs) 5g Crispy Chicken Skin - Skin must be blanched in boiling water to remove impurities and then roasted until golden and crisp Sea Salt & Black Pepper - to taste Serves 1 Allergens: Sulphites, Egg, Alcohol

Chicken Stock Our broth is made from whole chickens, water, onions, carrots, bay leaves and black peppercorns cooked for 12hrs at 80c - this results in an extremely clean stock both in terms of fat content and flavour

Method 1 Bring stock to a simmer and add chicken and rice to heat through 2 Assemble in bowl - mint, grated egg, port and pickled carrots 3 Use a slotted spoon to place rice and chicken into a bowl 4 Check seasoning of broth and adjust as necessary 5 Ladle into bowl.

6 Serve crispy chicken skin on the side to be crumbled into soup

Issue 44 | The Essential Journal

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The Essential Journal | Issue 44

ESSENTIAL JOURNAL X LA MARZOCCO

La Marzocco's Guide to: Brighton &Margate

This year we'll be championing speciality coffee & discussing crossindustry challenges with espresso machine stalwarts, La Marzocco uk.lamarzocco.com

BRIGHTON Hixon Green @hixongreen A favourite brunch spot set in a big and bright space just a few minutes from Hove seafront, Hixon Green serves up a seriously delicious array of food. Open for brunch, lunch and dinner, Hoxton Green offers up Grind coffee and an extensive cocktail list.

Glazed @glazed_coffee Glazed Coffee are famous for their next level donuts and extra-friendly staff, a great stop-off on any day-out in Brighton, with a constant rotation of guest roasters. Stop by to see who they’ve got in the hopper.

Bond St Coffee @bondstcoffee Bond St Coffee offer up a wide range of roasts from Horsham Coffee Roasters to the backdrop of unique but quintessentially Brighton-esque decor. Head down for a brew and grab some beans to take home for yourself.

The Set @theset_restaurant The Set is an award-winning restaurant in the iconic Artist Residence hotel. A stone’s throw from Brighton’s seafront, it showcases the best of local produce. Stop by for a wholesome breakfast, or treat yourself to the 10-course meal at the chef’s table.

MARGATE Storeroom @storeroombycurve Storeroom, the flagship coffee shop for Curve Coffee Roasters, is the go-to spot for a cup of joe in Margate. With two different single origin espressos available alongside three filter options, they also offer Storm Tea, a selection of baked goods, and a delicious brunch.

Bottega Caruso @bottegacaruso Bottega Caruso is a family-owned, Italian restaurant and shop producing fresh pasta and homemade Italian food. Their wine menu boasts a great selection of organic and natural wines from southern Italian producers and their seasonal menu uses only the best fresh produce from local farms and suppliers.

Tom Thumb Theatre @tomthumbtheatre The Tom Thumb Theatre is a family-run, independent arts venue in the heart of Cliftonville. Hosting a variety of events from theatre performances to food markets and beyond, Tom Thumb Theatre is also home to a cracking Espresso Martini.

Radio Margate @radiomargate An independent internet radio station and performing arts space, Radio Margate is a home for creativity and diversity that broadcasts live every Friday to Sunday.

You can pop into the cafe-bar overlooking the North Sea and watch the shows going out live.

Issue 44 | The Essential Journal

The Southern Roadshow This month, La Marzocco kicked off their Southern Roadshow with a trip to the sunny shores of Brighton

N

words by Dan HARVEY

estled between Brighton and Hove, a mere stone’s throw from the coastal charm of Brighton’s pebbled beaches, Small Batch’s Norfolk Square coffee shop provided the perfect setting for an evening of good company and great conversation. Kicking off our Southern Roadshow, this the first of four events taking place across the South East, had attendees arrive with intrigue for an opportunity to get hands on with the KB90 - our latest release and most innovative machine to date.

And with the KB90 in attendance, it would have been rude not to gather a panel of innovators to discuss just that, innovation and design. Head Chef and Founder of Brighton's SILO, Douglas McMaster talked us through the peaks and pitfalls of running a zero waste restaurant, provided insight into the importance of designing to inspire and the impact that that Blue Planet episode had on the public's appreciation for living waste free. James Grundy, one half of Small Beer Co., guided us through the challenges of changing perceptions and carving out a niche in an industry full of misconceptions, and the importance of welcoming people into the brewery for yoga and beer. And with his usual charm and insight, our very own sales manager, Ben Brooker, took attendees on a guided tour of the technical and aesthetic marvels of the all-new KB90, before turning the tables on our host, The Essential Journal's Creative Director, Thomas Sumner, by asking him to define both design and innovation.

The centrepiece of the Brighton leg of our Southern Roadshow: The KB90 embodies the ultimate innovation in espresso machine design where form meets function. With its patented Straight In portafilter innovation, the KB90 removes the need to twist the portafilter in the way the barista operates the machine, revolutionising the espresso-making paradigm and significantly reducing the risk of wrist injury; one of the most common work-related injuries in the food and beverage sector. This latest addition simplifies and eases the motion of locking-in the portafilter to the group-head, setting a new standard in performance in high volume cafés.

At La Marzocco we pride ourselves on building relationships that enrich the lives of others, and this first stop proved a perfect example of our continued dedication to this. New friends made, ideas exchanged, all, of course, with a bottle of Small Beer in hand. Next stop: Margate (Cliffs, May 8, 6:30pm) and the importance of community. DH Head to www.uk.lamarzocco.com/southern-soul/ and follow @lamarzoccouk for continued updates and spotlights on each of the roadshow’s host town and cities

Coming Along for the Ride Espresso Solutions @espressosolutions

Espresso Solutions are a key supplier to the UK coffee industry; selling everything from spare parts to water treatment through to the most premium barista accessories.

Founded in 2012, this family run business loves being involved with the coffee community and regularly support and sponsor competitions and events; working with speciality coffee roasters, premium coffee manufacturers and coffee aficionados across the country.

Small Beer Brew Co. @originalsmallbeer

Small Beer Brew Co. are the world’s first brewery to specialise solely in the production of small beer (0.5 2.8% ABV). In their quest for quality, flavour and innovation, Small Beer revised their entire brewing process, to create a bespoke brewing kit exclusively for the production of Small Beer. When not brewing, however, you’ll find their brewery space filled with live music, art exhibitions, talks, and yoga. Such is Small Beer’s dedication to community and conversation.

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The Essential Journal | Issue 44

DRINKING We're teaming up with The Whisky Exchange to shed a little light on your (new) favourite drinks categories thewhiskyexchange.com

High Spirits Spotlight

GIN

Tipple Trivia Your favourite spirits, served with a splash of knowledge

This month, we curate a collection of curious gins from around the world

words by The Whisky Exchange

T

he Whisky Exchange embarked on a treasure hunt to source the greatest curious gins from around the world. Distilleries are cropping up across the world, crafting their own terroir gin and introducing their unique flavour profiles based on their origin, using locally-sourced ingredients and botanicals with styles inspired by their history. Here are some excellent suggestions from unlikely destinations from around the world with curious styles and flavours. TWE

What separates gin from other clear spirits?

Quite simply, gin has to be made using juniper. Other botanicals and spices can be added to each producer’s unique recipe to add nuance and character, but the predominant botanical must always be juniper.

What types of gin are there?

1. London Gin or London Dry Gin is a legal term for a style made popular in London rather than a declaration of the origin of the spirit – while there are distillers making gin in London these days, including Sipsmith and Beefeater, most London Dry is made elsewhere. To use the name on the label, the bottle must contain a distilled gin with nothing added after distillation apart from water.

2. Old Tom Gin doesn’t have a legal definition, but is a sweeter style that became very popular in the early days of gin making in England.

It’s reappeared more recently as smaller producers have delved into the history of gin and cocktails, and recreated long-lost recipes.

3. Sloe Gin and other flavoured gins are a key part of British liqueur-making tradition. They are made by adding sugar and other flavourings to gin, creating sweet and usually fruity liqueurs. While sloe gin is the best known in the UK, producers like Edinburgh Gin have created whole ranges of different flavours.

Why G&T? Tonic water was initially created to make consuming bitter antimalarial quinine powder more appealing and it quickly spread across the Empire as an accompaniment to gin. This is now the classic way to serve gin but there are now some great simple cocktails and serves to take you beyond the tonic.

Pienaar and Sons Orient Gin South Africa, £42.95 Based in the heart of Cape Town, this boutique distillery is producing beautifully crafted spirits.

The heart of Orient gin is South African maize which gives it its characteristic rounded texture.

Meanwhile, the botanicals pay homage to the Eastern influences that are evident in Cape Town’s food culture. This gin hosts a sweet, spicy palate of cassia, ginger and allspice with a delicious citrus twist. Garnish with a slice of orange for a bold, rich G&T.

Issue 44 | The Essential Journal

Wacholderbar Veltliner Styrian Apples and Elder Gin Austria, £44.95 A Styrian gin is a style of Austrian dry gin originating from Styria in southeast Austria. An area known as the ‘Green Heart’ of Austria, it has an abundance of different botanicals, with the more commonly used ones helping to provide the typical dry taste this style of gin is known for. Wacholderbär’s Styrian gin is the fruitiest of their collection, made with organic Topaz apples and organic elderberries, which give a delightfully fruity aroma. Other botanicals include juniper and ginger adding a touch of spice to this modern take on a Styrian gin. Pair with a delicate tonic to release its floral and fresh flavours.

Capreolus Hart and Dart England, £49.95

Ägräs Gin Finland, £33.95

A unique small-batch gin, barrel-aged in mulberry wood from Capreolus Distillery in the Cotswolds. This rare wood adds sweetness, floral complexity, rich spice, a hint of tannin and a beautiful amber colour to the gin. You'll experience notes of apricots, orange blossom, blood orange, sweetness, spice and complex fruits, all of which make this great in a Negroni, any recipe that calls for Old Tom gin, or simply as a sipping spirit.

Award-winning gin from rural Finland, Ägräs is inspired by the country's beauty and raw nature.

Made using only four botanicals, this is a clean yet wild gin with a focused palate which showcases the herbs, roots and berries native to the Finnish forest. Garnish with orange zest and thyme to bring out the best in an Ägräs gin & tonic.

SERVING SUGGESTION: UMI NAMI A refreshingly simple and slightly salty drink with Japanese gin that’s ideal for warmer afternoons in the garden.

Ingredients 50ml Nikka Coffey Gin 75ml Grapefruit juice 50ml Fentimans Yuzu tonic water Rim a highball glass with salt and add the gin and grapefruit juice. Fill with ice cubes, give a small stir. Then fill the glass with ice and top with yuzu tonic. Lift other ingredients from the bottom with a barspoon or long spoon.

Garnish with a grapefruit slice and serve.

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DRINKING

Drinking With

SMALL BEER DRINKING WITH

Rooted in history but tailor-made for today’s pace of living,

Small Beer offers a ground-up, bespoke approach to brewing low ABV beers that make drinking a guiltless pleasure words by Will HALBERT

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The Essential Journal | Issue 44

DRINKING

R

are are the occasions when low ABV beer isn’t an afterthought, but a bona fide mission statement. So rare, in fact, that Small beer are one of the world’s first. While other brands tend to relegate their low ABV options to a half-baked, sugared-up afterthought, Small Beer make it their bread and butter. It’s a novel approach in the grand scheme of things, but a timely one, and it’s seen Small Beer carve out a dedicated niche amongst those looking to have a ball without missing a beat.

Small Beer is more than just a name, it’s a unifying philosophy. The whole Small Beer operation is shot through with an almost subconscious drive to stay small. From its ABV to its environmental footprint, the brand’s approach to all things small lends a much-needed personal touch to an often dizzying drinks category. EJ

The Brewery

Get the Round In

James GRUNDY Quickfire questions answered in the time it takes Small Beer’s Co-founder to show us around the brewery Why small beer specifically?

First and foremost, we don’t want low-ABV drinking to feel - or taste - like a compromise. Small Beer is built from the ground up for those who like to enjoy a few drinks without the slowdown that usually comes along with them. At 2.1%, our lager is still hydrating in nature. Now, this doesn’t mean you’ll find your doctor recommending the stuff to beat a cold, but it does mean you can keep pace on a night out without the cotton wool head and sandpaper tongue that typically hit you the morning after.

What are the challenges that come along with making small beer in the way you do?

There are many! It would be far easier to make a regular beer and simply strip it of its alcohol, but you’d lose a lot of flavour in the process. So we refuse to do that. Our brew kit is designed to produce small beer specifically. Our bespoke set up is such that - by design - we can’t realistically make a regular strength beer. That was a conscious effort to encourage us to really push the boundaries of what can be done with small beer, and we’re happy with the results.

Is sustainability high on Small Beer’s agenda?

It’s in everything we do. We’re the only UK brewery to operate a ‘dry floor’ policy, which has seen us cut down on water waste in a huge way. Most breweries use up to ten pints of water to make a single pint of beer. We’ve managed to cut that down to just a pint and a half. So I’d say we’re doing pretty well! On top of that, we’re powered entirely by renewable energy sources, and close the loop as much as possible with our use of grains. So yeah, we tick a fair few boxes on the sustainability front, but we’re always looking to push things further.

The Beer

K

eeping the ABV low without compromising on taste is no mean feat; Small Beer’s operation is a balancing act, and an impressive one at that. Their knack for delivering big flavours and bold statements without the usual kick-inthe-teeth alcohol content is a glowing testament to the knowledge and skill of Small Beer’s similarly small team.

Nestled in Verney Road, a mere stone's throw from South Bermondsey station, the Small Beer brewery has quickly become more than just the business end of beer production. The rugged and brew-ready edge of the brew tanks are offset by the communal benches and appropriately charming little bar. Both give the brewery a local homeliness and convivial warmth that elevates the site from fit-for-purpose warehouse unit to evening destination.

It’s of little surprise that the half-brewery-halfevent-space finds itself in high demand for just about anything. From comedy nights to wedding celebrations, live music to yoga, the Small Beer Brewery is more than just a stop on the beer mile, it’s a community hub in the making.

Issue 44 | The Essential Journal

Lager - 2.1%

Dark Lager - 1%

Steam - 2.7%

Lagered for six weeks for a fuller flavour, Small Beer’s lager is a labour of love to be sure. But the payoff is more than worth it: A crisp, clean lager with an almost continental finish. A masterful malt-to-hops balance and an exceptionally smooth mouthfeel makes for a lager that stands head and shoulders above its competition despite its size.

At a tiny 1%, the flavour that Small Beer’s Dark Lager manages to retain is nothing short of witchcraft. By all accounts, it’s a testament to the quality of the beer’s superlative foundations. Kilned, floor malted, Warminster barley imparts a subtly coffee-forward and rounded roast to the brew. Intense without ever being imposing, it’s clear from the first sip that Small Beer’s Dark Lager is looking to please, not punish.

An ale-esque depth meets a lager-like refreshment in this Cascade and Chinook-heavy brew. Rye-forward with an amber hue, the crystal malt lends some weighty, wheated aromatics that are more than matched on the palate. Steam has all the familiar trappings of a great ale, with a lightness and drinkability that sings of Small Beer’s low and slow production methods.

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PERSONAL FINANCIAL H E A LT H C H E C K We specialise in providing face-to-face wealth management advice that is personally tailored to reflect your individual circumstances, building a long-term and trusted relationship.

Together, we create realistic and effective working plans, providing you with a clear direction towards meeting your financial goals. This includes clarifying your objectives and researching all the options available to you.

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IPM FINANCIAL PLANNING LTD Associate Partner Practice of St. James’s Place Wealth Management

Tel: 0151 224 8728 | Mob: 07454 229726 Email: ian.massey@sjpp.co.uk Web: www.ipmfinancialplanning.co.uk The Partner Practice is an Appointed Representative of and represents only St. James’s Place Wealth Management plc (which is authorised and regulated by the Financial Conduct Authority) for the purpose of advising solely on the group’s wealth management products and services, more details of which are set out on the group’s website www.sjp.co.uk/products. The ‘St. James’s Place Partnership’ and the titles ‘Partner’ and ‘Partner Practice’ are marketing terms used to describe St. James’s Place representatives.

H2SJP31639 03/19

CULTURE

Pictured above: La Fábrica, Bofill's career-defining redevelopment of an abandoned cement factory in Sant Just Desvern in Spain

Beautiful Destruction How one man, Ricardo Bofill, breathed life back into a 'brutal carcass' on the edge of Barcelona words by Tom MORRIS An excerpt from the book Ricardo Bofill - Visions of Architecture

Available now from gestalten.com

Issue 44 | The Essential Journal

U

pon closer inspection, the factory complex consisted of more than 30 enormous silos full of concrete, a tall smoke chimney, various vast and dusty machine rooms, and four kilometers (two and half miles) of subterranean tunnels, all surrounded by brownfield land.

Work began immediately, with the Taller setting up camp in huts next to the factory that would become its future home. Despite the avant-garde nature of the planned scheme, it happened that permissions were relatively easy to obtain for the development here in Sant Just Desvern. It was the early 1970s and the end of the dictatorship, meaning there were few regulations that applied to buildings out in the fringes of Barcelona, so the workshop just got on with the job. “It was all about destroying in order to find the hidden beauty inside the factory. It’s an almost sculptural work of destruction.” This is how Bofill defines the first phase of transforming the factory. Elements of the building were dismantled and removed using dynamite and a jackhammer to carefully reveal hidden forms and accentuate certain internal spaces. The many silos were impossible to navigate and had to be emptied of cement and cleaned before anything could be done with them. This initial part of the redevelopment—undoing the industry—was mammoth, and went on for approximately two years. “There were lots of bits and pieces covering the interesting parts that we wanted to uncover,” Bofill says.

“From an aesthetic perspective, as you move through the spaces, you can see that each part is a very different world.”

There followed a period of sculpting, which meant crafting the space into a series of shapes. Instead of smoke you would see art, which was the intention. Walls were cut out, sections were removed in order to adapt structures for new uses, and holes were created to form windows. The shapes of these were actually inspired by traditional Catalan architecture. All of these elements were injecting character back into the factory, which at this point was an austere, brutal carcass. Photographs taken at the time show an industrial wasteland surrounding the complex, dwarfed by the growing red mountain of Walden 7 springing up on the land next to it. It’s a disconcerting sight. TM

“It was all about destroying in order to find the hidden beauty inside the factory. It’s an almost sculptural work of destruction.”

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NOT JUST A BARBERS...

attitude

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SHOP OR BOOK ONLINE AT www.attitudemenshair.co.uk

The Essential Journal | Issue 44

CULTURE

Architectural Thoughts on

Instagram Form follows Instagram Is an awareness of social media affecting the way we shape our urban fabric?

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ast month the Vessel opened in Hudson Yards, New York. Designed by Heatherwick Studio, the structure is essentially a honeycomb of steps and walkways and terraces circling around a void. Spreading up and outwards to the sky. the route up to the top is designed to be public realm. Allowing places to stop and enjoy views out across New York city.

The response from critics and the public has been mixed. Some admire the way the endless stair promotes chance encounters, whereas many consider the structure a little bit too style over substance - one comment simply stating that ‘form follows instagram’.

Could this then be a new trend in architecture? Designing for that key moment which will be photographed and shared repeatedly? Somewhat controversially, in its initial opening, the terms and conditions of Hudson’s Yard stated that any images captured of the Vessel belong to the company maintaining the site - ERY Vessel LLC. Although this clause has now apparently been redrawn, it indicates that the developers are aware of the power of the visual identity of the project. Assemble created a project in 2014, which comprised an industrial shed covered in delicate pastel toned cement tiles.

This wall inadvertently became an Instagram must, as it lent itself beautifully to becoming a striking background for selfies and portraits, even becoming known as one of the ‘most Instagrammable walls in London’.

A project’s Instagramability is becoming something that is considered early in the design process – clients have started to assess proposed designs on the possibility of an instagrammable moment. Because an image that everyone wants to get means publicity, marketing, and recognition that is completely free once built. Australian architects Valé have created an Instagram design guide – helping companies design new projects that lend themselves to be photographed and shared to maximise exposure on social media ‘making sure that your space is designed in a way that makes it remarkable, so remarkable that everyone has to take a picture and share it with the world on social media’.

Instagram can certainly be a marketing consideration; but what is not yet being explored as much is its possibility for research. The platform has potential as a powerful tool in urban planning, as it provides an open link between the users of an environment and its designers. Allowing us to understand what end users find interesting and worth recording. In a recent paper, my friend, James Chaundy, explored how we can use Instagram to understand how development will affect the experience of our cities. Concentrating in Liverpool he discovered that whilst the most photographed locations were largely as expected – the Albert Dock, the Liver Building, the Cavern Club etc, the locations from where these photos were taken – and the particular views captured were not always as expected. Meaning that site lines that are protected in planning guidelines, are not necessarily the same ones visitors find important. This isn’t just about what makes a good photo – sitelines in cities are important because they define the identity of the place, and help visitors understand where they are and how to get around. Instagram – with geo-tagging such a well used feature – can give us an insight into the user experience of the urban environment that we have not yet taken full advantage of.

Of course we must be wary in our use of this data. We have to remember that the vast majority of users generally record the beautiful and the idealised - not the everyday useful.

So, as with so much of social media, we must be aware that we are gaining interesting insights - but not the whole picture. RH

'Could this then be a new trend in

words by Róisín HANLON

architecture?

Designing for that key moment which will be photographed and

image credit: Evelyn Akhmerov

shared repeatedly?'

Issue 44 | The Essential Journal

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COLUMN

CALM

We are a movement against suicide, the single biggest killer of men under 45 in the UK. Get support and join the campaign at theCALMzone.net

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The Essential Journal | Issue 44

LIFESTYLE

The Art of Failure The Connor Brothers let us in on their experience with failure and disappointment, where it took them, and what they learned from it

I

words by Mike SNELLE & James GOLDING n a social climate that practically forces us to present ourselves as high flying and perpetually motivated, it pays to be honest and open about our failures and how they affect us. It’s important to understand that failure doesn't define us, but that it’s often a necessary part of a longer process, and almost always a learning experience. No strangers to adversity, artists Mike Snelle and James Golding (aka The Connor Brothers) talk us through the foils of their first big LA exhibition.EJ

This is it. We’ve made it. Our first overseas solo exhibition. LA too.

More celebrities per square mile than anywhere on earth. They’ll all be there. Lady Gaga, The Hoff, Jake Gyllenhaal, Johnny Depp, Gary Barlow, Gary Coleman, Gary Oldman, Mel Gibson. Thinking about it, Gibson’s potentially an issue. Don’t want him getting pissed and saying anti semitic shit to Gyllenhaal, who I’m pretty sure is Jewish. Can’t wait to meet the Hoff though. I f*cking loved Knight Rider. We’ve invited Issue 44 | The Essential Journal

everyone we know in LA. One confirmed and two maybes. On the upside the confirmed one is the manager of one of the world’s biggest artists. The rest of the guestlist is the gallery’s responsibility and they’ve promised it’s pretty impressive.

We sit outside a bar opposite the gallery which allows us to watch the queue which will imminently form. There are no paparazzi as yet.

Should we tip them off ourselves?

Is that how it works? Six o’clock comes and goes and nothing much

happens. Nothing at all in fact.

F*cking movies stars. Notoriously late. It’s a wonder films get made at all with their relaxed attitude towards punctuality. Twenty minutes later and although neither of us are saying it we’re both getting a little anxious. Now and again someone walks past the gallery and I try and Jedi mindf*ck them into going in.

It’s half past and people should definitely be arriving by now. Have we got the right day? Are we at the right gallery?

There is nothing more painful (except for all the things that are actually important and painful) than being in an empty gallery at your own opening. You have to drink warm, flat, champagne and look intently at your own paintings as if it’s the first time you’ve seen them. You pretend to read and reread labels as if they’re fascinating. Now and again you casually make out like you’re texting someone. Most of all though, you have to try and act as if you’re not completely embarrassed and entirely humiliated. As failures in the art world go - no-one attending your private view is pretty much the big one. Not only does nothing sell but people can’t even be f*cked to come.

In short, it means you suck. At some point our artist manager friend appears and gives us a pitying shrug.

Even the gallery owner (wearing a full length white fur coat and gurning pretty intensely) only stays for a few minutes. It’s his gallery for f*ck’s sake. ‘Shall we go?’ James asks an hour before it’s due to end. ‘I think that might be a good idea,’ our friend replies, sympathetically.

A few days later we’re back in our old studio, a semi-derelict pub basement in Hackney with no natural light and a serious damp problem. Our LA trip is already funny. We’re not sure how we’ll pay the rent this month but nevertheless the trip was worth it. In some ways it couldn’t have been more worth it.

If it had been moderately successful it would also have quickly become incredibly boring. We’d have never talked about it again. Because we’d

failed so spectacularly, recounting it to each other will entertain us for years. It was every bit as entertaining as if it had been a spectacular success. Maybe more so.

Success and failure are relative, and most of the time it’s entirely unhelpful to think in those terms. It’s often through our mistakes that we learn the most, and chasing success can easily become an insatiable appetite for a kind of external validation that will never be satisfied. We never started The Connor Brothers with the goal of being successful.

We never really thought about failure either. We did it because it would make a great story. For us maybe that’s what success means - doing something that in the book that is our lives will make an entertaining chapter. James used to be a heroin addict. I’ve been psychotic on multiple occasions and occasionally suicidal. We’ve both been financially successful and completely broke. We’ve ‘succeeded’ and ‘failed’ in countless ways on myriad occasions. But it was never really about that for us. For us success is not about what happens to you but how you tell the story.

Six years after our first LA exhibition we had another one. This time there was a queue. Celebrities attended. Paparazzi came. We sold everything. I got to meet the Hoff (very disappointing. Nothing like Michael Knight). Was the successful version better than the failed one?

Not really. They were both pretty funny. @connorbrothersofficial 53

BUSINESS

Coffee & Counsel with

Adonis Michael This month Michael Rose & Baylis director, Adonis Michael, peeks behind the veil of the social media influencer words by Adonis MICHAEL

H

ave a scroll through your Instagram feed. What’s being dangled in front of you today? Perhaps a mouth-watering açaí and matcha green tea smoothie? A new pair of sunglasses? A funky pair of yoga pants, or even a holiday to Dubai? And who is it that’s doing the dangling, exactly? Let's take a closer look: Why, it's that cool person you’ve been following sipping on that smoothie and wearing those shades whilst doing that headstand on that beach on The Palm, in those luminous yellow yoga pants, no less!

You see, the social media influencer has become a genuine star in recent times, and quite the valued commodity. In fact, 70% of brands used ‘influencer marketing’ as part of their marketing strategy in 2018, and they are paying fortunes to those with the right followers so that they can promote their product.

Did you happen see the recent Fyre documentary on Netflix? If you did, then you will recall how they chose to use the likes of Bella Hadid, Kendall Jenner and other top ‘influencers’ to promote the event. Reportedly, each was paid up to $250,000 for a single post on the festival. The Fyre Festival team created a luxurious social media campaign to build hype. It was this influencer-led marketing strategy that helped the festival to sell 5,000 tickets at extortionate prices, with the majority selling out within 24 hours.

Kylie Jenner has hit the headlines recently after Forbes named her the youngest self-made billionaire at the age of 21. It’s reported that she demands a fee of $1,000,000 per social media post.. It's no surprise, then, everyone wants to be an influencer nowadays. And why not, if someone is willing to pay you for the simple act of wearing yoga pants and going on a holiday to Dubai?

But before you quit your job and fire up your new Insta account, put down your smoothie, take off the shades and read the rules, Instagram isn’t the Wild West anymore.

You may be of the opinion that such social media adverts and promotions are obvious and clear, but this isn’t necessarily the case. In fact, there are concerns that increasing numbers of influencers are not declaring their sponsored posts, and this can be problematic, because ordinary fans could well be confused into thinking that the influencer genuinely does want to wear luminous yellow yoga pants and actually does love going to The Palm in Dubai and isn’t doing it just because they’re getting paid for it. Basically, people are more likely to trust a place or product if they believe it is their idol’s genuine choice rather than a paid ad.

All of this has led to the Advertising Standards Agency producing a guide on the rules of sponsored content, aptly named An Influencer’s Guide to Making it Clear that Ads are Ads (where is the arms out emoji when you need it?). This isn’t new law as such, but its purpose is really to clarify how the existing law applies to social media. The majority of the law for this is found under the Consumer Rights Act. First of all, it’s illegal to post sponsored content without disclosing that its sponsored and this doesn’t just mean financial remuneration it includes receipt of gifts or freebies. Going back to Fyre festival and the posts by Bella and Kendall, they broke FTC regulations (the USA’s equivalent of the Advertising Standards Authority) in just about every way they could.

It simply wasn’t made clear to followers that the influencers were being paid to promote it. The photo and video content used to promote the festival came across as organic, leading followers to believe that this was genuinely the kind of thing they could experience too if they bought a ticket. And if you happened to see the Netflix documentary, then you’ll know this was far from the reality.

Secondly, under the CAP code, ads must be obviously identifiable as such. So basically, we shouldn’t have to ponder too long and hard to work out that a post is an advert. Hence why we see a lot of tags making this clear. The ASA likes labels that say it how it is: ‘Ad’, ‘Advert’, ‘Advertisement’. They’re not so keen on more ambiguous captions like like ‘Spon’, ‘Thanks to [insert brand here] for making this possible’, or simply @-ing the brand, for the simple fact that these labels don’t make it obvious enough.

If there is a problem with your post and there are complaints, then the ASA will seek to resolve these in the first instance. Once they’ve made an assessment, the ASA Council will need to make the final decision. These decisions become rulings. What happens after a ruling, you ask? Well, if there was a problem with your content, you’d need to change or remove it. If you don’t, you’ll no doubt be hearing from the ASA again and, if that doesn’t work, CAP’s Compliance team will get in touch. The Compliance team can apply sanctions which can lead to Trading Standards getting involved.

All clear? Wonderful. Then whack on those luminous yellow yoga pants, ready those hashtags, and get posting. AM

'In fact, 70% of brands used ‘influencer marketing’ as part of their marketing strategy in 2018, and they are paying fortunes to those with the right followers'

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